NUMBER  OP  EMS  IN  LINES 


Size  of  Ttpe. 

Octavo . 

state  Eegister. 

12  mo . 

16  mo . 

Pacific . . 

Labatt's  Dig'st 

1  Half  Octavo... 

6 Inch  Leads.. 

^  Inch  Leads. . 

Pica . 

23 

21 

18 

15 

14 

14 

11 

36 

42 

Small  Pica . 

27 

24 

21 

17 

16 

16 

13 

42 

48 

Long  Primer. . . . 

29 

26 

23 

19 

18 

17 

14 

45 

53 

Bourgeoise . 

33 

30 

26 

22 

20 

19 

16 

52 

60 

Brevier . 

36 

33 

28 

24 

22 

21 

18 

57 

66 

Minion. . 

41 

37 

32 

27 

25 

24 

20 

64 

74 

Nonpariel . 

46 

42 

36 

30 

28 

27 

23 

72 

84 

Agate . 

53 

48 

41 

35 

CO 

31 

26 

83 

96 

Digitized  by  the  Internet  Archive 
in  2018  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/printersmanualprOOIync 


THE 


PRINTER’S  MANUAL 


A  PRACTICAL  GUIDE 

r  OR 

COMPOSITORS  AND  PRESSMEN 


BY 

THOMAS  LYNCH 


CINCINNATI 

PUBLISHED  BY  THE  CINCINNATI  TYPE-FOUNDRY 
M.DCCC.LXIV 


Entered,  according  to  Act  of  Congress,  in  the  year  J859,  by 
THE  CINCINNATI  TYPE-EOUNDRY , 

In  the  Clerk’s  Office  of  the  District  Court  of  the  United  States, 
for  the  Southern  District  of  Ohio . 


ELECTEOTYPED 
kl  tbo  ClnciLnati  Typc*Foandry. 


THE  RETTY  RESEARCH 
INSTITUTE  LIBRARY 


PEEFAOE. 


The  first  edition  having  been  exhausted,  and  a 
second  being  called  for,  it  is  deemed  necessary 
to  say  a  few  words  in  reference  to  it : 

It  was  intended  to  reset  the  whole  work 
in  larger  sized  types ,  and  to  remodel  the 
reading-matter;  but,  the  state  of  the  country 
being  such  that,  as  we  know  not  what  a  day 
may  bring  forth,  it  is  thought  best  to  make 
the  issue  without  other  than  minor  alterations. 

It  was  also  intended  to  have  given  a  set 
of  colored  diagrams,  some  twenty-six,  show¬ 
ing  all  the  colors ,  tints ,  and  hues  required 
in  any  branch  of  the  trade ;  but  so  many 
copies  of  this  work  having  been  sold,  and  the 
likelihood  being  that  few  persons  who  had  pur¬ 
chased  would  wish  to  buy  for  that  part  only. 


IV 


PREFACE . 


I  think  it  better  to  announce  that  it  will  be 
published  as  a  separate  work,  supplementary 
to  this,  in  which  -wdll  also  be  given  a  series 
of  practical  examples  of  the  best  manner  of 
setting  up  title-pages ,  cards ,  rule  and  figure 
work,  and  job-work  generally.  T.  L. 


PEINTEK’S  MANUAL 


PUNCTUATION. 


This  being  a  subject  on  wbich  no  two  grammarians  can 
agree,  it  must  not  be  expected  that  the  rules  hereinafter 
laid  down,  will  be  found  to  suit  every  body.  The  reasons 
for  giving  them  in  the  concise  form  in  which  they  appear 
are  twofold :  in  the  first  place ,  it  is  not  likely  that ,  in 
the  present  transition-state  of  the  ;fenglish  language,  any 
definite  rules  can  be  given;  and,  in  the  second,  the  number 
of  pages  which  it  would  occupy  can  be  filled  with  matter 
of  far  more  practical  use  to  the  trade. 

The  division  of  words  gives  the  compositor  as  much 
trouble  as  punctuation;  because,  the  rules  laid  down  are 
so  indeterminate,  and  the  exceptions  so  numerous  that  they 
can  not  be  applied  to  many  bther  words  than  those  given 
as  examples  in  the  grammars ;  yet  j  as  divisions  must  often 
be  made,  a  few  plain  and  practical  rules  will  be  given  in 
this  chapter. 

On  account  of  the  whimsical  notions  of  proof-readers, 
the  compositor  is  subject  to  a  great  amount  of  annoyance 
and  loss  of  time,  by  making  needless  alteration  in  both  of 
the  above  particulars. 

The  spelling  of  doubtful  words,  such  as  those  that  form 
their  plurals  in  -eys  and  -ies,  the  doubling  of  the  consonant 
in  -ing  and  -ed,  in  the  present  or  perfect  participles,  and 
the  words  which  contain  ei  and  ie,  will  be  treated,  in  this 
department,  in  such  a  manner  as  to  remove  all  difficulty. 


6 


PRINTER’S  SIANUAL  : 


THE  COMMA. 

The  comma  ( ,  )  is  the  point  most  frequently  used,  and 
abused;  therefore  it  will  bo  the  first  treated  of. 

Eule  I.  —  In  a  simple  sentence,  the  several  words  of 
which  it  consists  have,  in  general,  so  close  a  connection 
with  each  other,  that  no  point  is  necessary,  except  a  period 
at  the  close:  as,  “Every  part  of  matter  swarms  with  living 
creatures “  The  western  jiowers  claimed  nothing  but  the 
independence  of  Turkey.” 

Exception.  —  When  the  connection  between  the  nomina¬ 
tive  and  verb  is  broken  by  a  secondary  phrase,  a  comma 
should  be  placed  before  and  after  the  minor  sentence:  as, 
“Charity,  like  the  sun,  brightens  every  object  on  which  it 
shines.”  “I  remember,  with  gratitude,  his  goodness  to 
me.”  When  these  interruptions  are  slight  and  unimportant, 
the  comma  should  be  omitted  :  as,  “Flattery  is  certainly  per¬ 
nicious  .” 

EXA.MPLES. 

1 .  The  book  is  the  author’s  pledge  to  immortality . 

2 .  The  friend  of  order  has  made  half  his  way  to  virtue . 

ExcEFTto.N  1 .  —  The  weakest  reasoners-among  my  acquaintance  ,  especially 

on  the  subject  of  religion,  are  generally  the  most  positive. 

Exceiwion  2  — His  style  ,  in  point  of  grammatical  construction ,  is  open 
to  endless  objection  . 

Eule  II.  —  Series  of  words  of  the  same  part  of  speech 
should  be  separated  by  a  comma:  as,  “The  husband,  wife, 
and  children,  suffered  extremely.”  “They  took  away  their 
furniture,  clothes,  and  stock  in  trade.”  “He  is  alternately 
supjiorted  by  his  father,  his  uncle,  and  his  elder  brother.” 

Exception. —  There  is  an  exception  to  this  rule;  and  that 
is,  when  two  nouns  are  closely  connected  by  a  conjunction: 
as,  “Virtue  and  vice  form  a  strong  contrast  to  each  other.” 
But,  if  the  parts  connected  are  long,  the  comma  may  be 
inserted,  though  the  conjunction  is  used:  as,  “Eomances 
may  be  said  to  be  miserable  rhapsodies,  or  dangerous  incen¬ 
tives  to  evil.”  “Intemperance  destroys  the  strength  of  our 
bodies,  and  the  vigor  of  our  minds.” 

EXAMPLES. 

1 .  A  woman  ,  sensible  ,  well-educated  ,  gentle  ,  and  religious  . 

2.  In  a  letter,  we  may  advise,  exhort,  comfort,  and  request. 


1 


PUNCTUATION  . 


7 


and 


Exception.  —  But  Frederic  was  too  old  and  too  cunning  to  be  caught, 
the  ambitious  and  far-seeing  Catharine  had  ul^rior  views  of  her  own. 


Rule  III.  —  When  words  in  the  same  construction  are 
joined  in  pairs  by  a  conjunction,  they  are  separated  in  pairs 
by  a  comma :  as ,  “  Hope  fear ,  pleasure  and  pain  divers¬ 
ify  our  lives .”  ~  — 

EXAMPLE. 

A  Christian  spirit  may  be  manifested  either  to  Greek  or  Jew ,  male  or 
female  ,  friend  or  foe . 


^  Rule  IV.— -Expressions  in  a  direct  address,  the  nomin¬ 
ative  absolute,  and  the  participle  absolute,  are  separated  by 
commas  from  the  remainder  of  the  sentence:  as,  “Come 
hither,  William.”  “His  father  dying,  he  succeeded  to  the 
estate.”  “To  do  her  justice,  she  was  a  good-natured,  sens¬ 
ible  ,  reasonable  woman .”  “  Properly  speaking ,  he  is  guiltv 

of  falsehood .” 

EXAMPLES. 


1.  John,  will  you  obtain  the  work  from  the  library? 

2.  The  city  being  taken,  we  fortified  it  with  great  care. 


Rule  V.  —  Nouns  in  apposition,  when  accompanied  with 
^adjuncts,  and  nouns  qualified  by  participles  or  adjectives 
with  dependent  words ,  should  be  separated  by  a  comma : 
as ,  “  Paul ,  the  apostle  of  the  gentiles ,  was  eminent  for  his 
zeal  and  knowledge.”  “The  president,  approving  the  plan, 
put  it  in  execution.”  “But  be,  anxious  to  refer  the  cause 
to  arbitration,  refused.” 

Exception .  —  If  such  nouns  are  single ,  or  form  only  a 
proper  name ,  they  are  not  divided  :  as ,  “  Paul  the  apostle 
suffered  martyrdom.” 

EXAMPLES. 

.1,  distinguished  traveler ,  Dr.  Livingston ,  was  at  the  meeting  of 

the  geological  society.  “ 

2.  Humboldt ,  the  great  philosopher ,  resides  at  Berlin . 

Exception.  —  Wellington  the  statesman  died  in  1851. 

Rule  VI. — -When  sentences  contain  correlative  words, 
and  have  each  a  nominative  and  verb  expressed,  they  are 
separated  by  a  comma:  as,  “Better  is  a  dinner  of  herbs 
with  love,  than  a  stalled  ox  and  hatred  with  it.” 

Exception .  —  If  the  members  in  comparative  sentences 


8  PRINTKR’S  MANUAL  : 

are  short,  the  comma  is,  in  general,  better  omitted:  as, 
“How  much  easier  is  it  to  get  gold  than  wisdom.”  “Man¬ 
kind  act  oftener  from  cajjrice  than  reason.” 

EXAMPLES. 

1 .  As  virtue  is  its  own  reward ,  so  vice  is  its  own  punishment . 

2.  Ilow  much  easier  is  it  to  go  with  the  popular  current,  tlian  it  is  to 
oppose  public  opinion  . 

E.xception.  —  The  child  in  the  humble  walks  of  life,  is  as  richly  gifted 
as  the  highest . 

Eule  VII.  —  When  words  are  placed  in  opposition  to 
each  other,  or  have  some  marked  relation,  they  require  to 
be  separated  by  a  comma :  as,  “  Good  men ,  in  their  frail , 
imperfect  state,  are  not  always  found  in  union  with,  but 
sometimes  in  opposition  to ,  the  views  and  conduct  of  each 
other.” 

EXAMPLES. 

'  1 .  The  goods  of  this  world  were  given  to  man  for  his  occasional  refresh¬ 
ment,  not  for  his  chief  felicity. 

^  2 .  It  is  the  province  of  superiors  to  direct ,  of  inferiors  to  obey . 

Eule  VIII.  —  An  important  expression ,  or  a  short  observa¬ 
tion,  somewhat  resembling  a  quotation,  may  be  properly 
marked  with  a  comma :  as ,  “It  hurts  a  man’s  pride  to 
say,  I  do  not  know.”  “It  may  beJaid_Cbwn  as  a  truth, 
that  adversity  is  our  best ‘teacher .”' 

EXAMPLES. 

1.  Tice  is  not  of  such  a  nature  that  we  can  say  to  it,  thus  far  shalt 
thou  go  ,  and  no  farther  . 

2,  \Ve  are  strictly  enjoined,  not  to  follow  a  multitude  to  do  evil. 

Eule  IX.  —  Eelative  pronouns  generally  admit  a  comma 
before  them,  except  when  closely  connected  with  the  ante¬ 
cedent:  as,  “There  is  no  charm  in  the  female  sex,  which 
can  supply  the  place  of  virtue .”  “  A  man ,  who  is  of  a 

detracting  sqiirit,  will  misconstrue  the  most  innocent  words 
that  can  be  put  together.” 

EXAMPLES. 

1.  The  gentle  mind  is  like  the  still  stream,  which  reflects  every  object 
in  its  just  proportions  and  in  its  fairest  colors, 

2.  He,  who  is  good  before  invisible  witnesses,  is  eminently  so  before 
the  visible . 


PUNCTUATION-^ 


9 


Eule  X.  —  When  an  infinitive  mode  can ,  by  transposi¬ 
tion,  be  made  the  nominative  case,  it  should  he  separated 
from  the  verb  by  a  comma :  as ,  “  The  most  obvious  remedy 
is,  to  withdraw  from  all  associations  with  bad  men.” 

EX-LMPLES. 

1 .  It  ill  becomes  good  and  wise  men ,  to  oppose  and  degrade  each 
other . 

2.  Charles’s  highest  enjoyment  was,  to  relieve  the  distressed  and  to 
do  good. 

Eule  XI.™  When  a  verb  is  understood,  a  comma  may 
often  be  properly  introduced:  as,  “From  law  arises  security; 
from  security,  curiosity;  from  curiosity,  knowledge.” 

EX A  MFLES  . 


1 .  If  spring  puts  forth  no  blossoms ,  in  summer  there  will  be  no  beauty , 
and  in  autumn ,  no  fruit ;  so ,  if  youth  be  trifled  away ,  without  improve¬ 
ment,  manhood  will  be  contemptible  ,  and  old  age  miserable. 

2 .  As  a  companion  he  was  severe  and  satirical ;  as  a  friend ,  captious 
and  dangerous  ;  in  his  domestic  sphere ,  harsh  and  irascible  . 


Eule  XII. —  The  words:  nay,  so,  why,  again,  first, 
secondly,  formerly,  now,  lastly,  once  more,  above  all,  mi -the 
contrary,  in  the  -next  filace,  in  short,  and  all  other  words 
and  phrases  of  the  same  kind,  must,  as  a  general  rule,  be 
separated,  from  the  context  by  a  comma:  as,  “First,  I 
shall  state  the  proposition,  and,  secondly,  I  shall  endeavor 
to  prove  it.”  “Eememher  thy  best  and  first  friend;  for¬ 
merly,  the  supporter  of  thy  infancy  and  the  guide  of  thy 
childhood;  now,  the  guardian  of  thy  youth  and  the  hope 
of  thy  coming  years.” 

EXAMPLES. 

1.  On  the  other  hand,  be  not  self-confident. 

2.  His  high  reputation,  undoubtedly,  contributed  to  his  success. 

Eule  XIII.  —  A  simple  member  of  a  sentence ,  contained 
within  or  following  another,  must  he  distinguished  by  a 
comma:  as,  “She  may  still  exist  in  undiminished  vigor, 
when  some  traveler  from  New-Zealand  shall,  in  the  midst 
of  a  vast  solitude,  take  his  stand  on  London  bridge  to  sketch 
the  ruins  of  St.  Paul’s.” 

EXAMPLE. 

^  1.  It  we  delay  until  tomorrow  what  ought  to  be  done  today,  we  over- 

charge  the  morrow  with  a  burden  which  belongs  not  to  it. 


10 


PRINTER’S  MANUAL  : 


THE  SEMICOLON, 

The  semicolon  (  ;  )  is  placed  between  the  members  of 
a  sentence  which  are  not  so  closely  connected  as  those  which 
are  separated  by  a  comma. 

1.  A  semicolon  is  placed  between  two  parts  of  a  sen¬ 
tence,  when  these  are  divided,  according  to  the  preceding 
rules,  into  smaller  jwrtions :  as,  “At  a  later  period,  when 
he  possessed  an  ample  fortune,  he  was  one  of  the  most 
liberal  of  men;  but,  until  his  means  had  become  equal 
to  his  wishes,  his  greediness  was  unrestrained  either  by 
justice  or  by  shame.” 

2.  A  semicolon  is  placed  between  two  clauses,  one  of 
which  is  explanatory  of  the  other:  as,  “Evidence  for  the 
imputation  there  was  scarcely  any;  unless  reports,  Avan- 
dering  from  one  mouth  to  another,  and  gaining  credence  by 
every  transmission,  may  be  called  evidence.” 

3.  Short  sentences,  slightly  connected,  are  separated  by 
a  semicolon:  as,  “The  advance  of  civilization  among  the 
Indians  can  be  known  by  these  sure  and  unmistakable  signs : 
the  entrance  of  the  missionary;  his  entrance  closely  followed 
by  the  Avhisky-jug;  this,  by  thieving;  and  this,  by  that 
great  conservator  of  the  public,  the  common  jail.” 

EXAMPLES. 

1 .  We  can  not  give  a  distinct  name  to  every  object  which  we  perceive, 
nor  to  every  thought  which  passes  through  the  mind  ;  nor  are  these  thoughts, 
or  even  these  objects,  so  entirely  distinct  to  human  conception  as  many 
persons  are  apt  to  imagine.  If  I  sec  a  horse  today,  and  another  tomor¬ 
row,  the  conceptions  wliich  I  form  of  these  different  objects  are,  indeed, 
dissimilar  in  some  respects,  but  in  others  they  agree. 

2.  Life,  with  a  swift  though  insensible  course,  glides  away;  and,  like 
the  river  which  undennines  its  banks,  gmdually  impairs  our  state. 

3.  Philosophers  assert,  that  nature  is  unlimited  in  her  operations;  that 
she  has  inexhaustible  treasures  in  reserve  ;  that  knowledge  will  always  be 
progressive  ;  and  that  all  future  generations  will  continue  to  make  discov¬ 
eries  of  which  we  have  not  the  least  idea, 

THE  COLON. 

The  colon  (  :  )  is  used  to  divide  a  sentence  into  two 
or  more  parts,  less  connected  than  those  separated  by  a 
semicolon,  hut  not  so  iiidepeudent  as  distinct  sentences. 


PUNCTUATION. 


11 


1.  When  a  member  of  a  sentence  is  complete  in  itself, 
but  followed  by  some  supplementary  remark,  or  further 
illustration  of  the  subject,  the  colon  is  used:  as,  “A  brute 
arrives  at  a  point  of  development  that  he  can  never  pass : 
in  a  few  years  he  has  all  the  endowments  he  is  capable 
of;  and,  were  he  to  live  ten  thousand  more,  he  would  be 
the  same  thing  that  he  is  at  present.” 

2 .  The  colon  is  also  used  when  one  or  more  semicolons 
have  preceded,  and  a  pause,  still  greater  than  a  semicolon, 
is  needed  to  render  clear  the  connection  and  distinctness 
of  each  individual  portion  of  the  complex  sentence,  which 
they  together  form:  as,  “As  we  perceive  the  shadow  to 
have  moved  along  the  dial ,  but  did  not  see  it  moving ;  and 
it  appears  the  grass  has  grown,  though  nobody  ever  saw 
it  grow :  so  the  advances  we  make  in  knowledge ,  as  they 
consist  of  such  insensible  steps,  are  perceivable  only  by  the 
distance .” 

3.  The  colon  is  commonly  used  when  an  example,  a 
question,  or  a  speech  is  introduced:  as,  “He  was  often 
heard  to  say:  ‘I  have  done  with  the  world,  and  am  ready 
to  leave  it ” 

EXA.M.PLES. 

1 .  For  the  training  of  goodness ,  the  ancient  reliance  was  on  the  right 
discipline  of  hahit  and  affection  :  the  modern  is  rather  on  the  illumination 
of  the  understanding . 

2 .  AVhen  we  look  forward  to  the  year  which  is  beginning ,  what  do  we 
behold  there  ?  All ,  my  brethren ,  is  a  blank  to  our  view  :  a  dark  unknown 
presents  itself. 

3.  All  our  conduct,  towards  men,  should  be  influenced  by  this  import¬ 
ant  precept ;  ‘‘  Do  unto  others  as  you  vrould  others  should  do  unto  you 


THE  PERIOD. 

When  a  sentence  is  complete,  independent,  and  uncon¬ 
nected  ,  in  construction ,  with  the  following  one ,  it  is  marked 
with  a  period  (  .  ). 

1.  Some  sentences  are  independent  of  each  other,  both 
in  their  sense  and  construction :  as ,  “  Have  charity  toward 
all  men.”  Others  are  independent  only  in  their  grammati¬ 
cal  construction:  as,  “Worldly  happiness  ever  tends  to 
destroy  itself,  by  corrupting  the  heart.  It  fosters  the  loose 
,and  the  violent  passions.  It  engenders  noxious  habits,  and 


12 


PRINTER’S  MANUAL: 


taints  the  mind  with  false  delicacy,  which  makes  it  feel  a 
thousand  unreal  evils.” 

2.  A  period  may  sometimes  he  admitted  between  two 
sentences,  though  they  are  joined  by  a  copulative  or  dis¬ 
junctive  conjunction;  for  the  quality  of  the  point  does  not 
always  depend  on  the  connective  particle,  but  on  the  con¬ 
struction  of  the  sentences:  as,  “Recreations,  though  they 
may  be  of  an  innocent  kind,  require  steady  government,  to 
keep  them  within  a  due  and  limited  province.  But  such 
as  are  of  an  irregular  and  vicious  nature  are  not  to  be  gov¬ 
erned  ,  but  to  be  banished  from  every  well-regulated  mind .” 

3.  The  period  should  be  used  after  every  abbreviated 
word:  as,  Dec.,  Mr.,  N.B. ,  A.D. ,  etc. 

EXAMPLES. 

1 .  Self-control  is  promoted  by  humanity .  Pride  is  a  fruitful  source  of 
uneasiness.  It  keeps  the  mind  in  disquiet.  Humility  is  the  antidote  to 
this  evil . 

2.  Thought  engenders  thought.  Place  one  idea  upon  your  paper; 
another  will  follow  it,  and  still  another,  until  you  have  written  a  page. 
You  can  not  fathom  your  mind.  There  is  a  well  of  thought  there,  which 
has  no  bottom.  The  more  you  draw  from  it,  the  more  clear  and  fruitful 
It  will  be . 

3.  The  key  to  every  man  is  his  thought.  Sturdy  and  defying  though 
he  looks,  he  has  a  helm  which  he  obeys:  it  is  the  idea  after  which  all  his 
thoughts  are  classified .  He  can  be  reformed  only  by  showing  him  a  new 
Idea ,  which  commands  his  own . 


THE  DASH. 

1 .  The  dash  ( — ) ,  though  ofteu  used  improperly  by 
hasty  and  incoherent  writers,  may  be  introduced  with  pro¬ 
priety,  where  the  sentence  breaks  off  abruptly,  where  a 
significant  pause  is  required ,  or  where  there  is  an  un¬ 
expected  turn  in  the  sentiment :  as ,  “If  thou  art  he ,  so 
much  respected  once  —  but,  oh,  how  fallen  !  how  degraded!” 
“  There  was  to  be  a  stern  death-grapple  between  might 
and  right  —  between  the  heavy  arm  and  the  ethereal  thought 
—  between  that  which  was  and  that  wlrich  ought  to  be.” 

2.  The  dash  should  also  be  used,  when  conversations 
are  printed  without  making  each  question  and  reply  a 
separate  paragraph,  so  as  to  cut  off  each  pair  from  the 
preceding  and  succeeding  one :  as ,  “  Are  you  the  man  who 
owns  this  wood?”  “Yes,  I  am.”  —  “Well,  I  am  the  gen¬ 
tleman  who  wishes  to  saw  it.” 


PUNCTUATION. 


13 


EXAMPLES. 

1 .  She  was  great  and  respected ,  before  the  Saxon  had  set  foot  on  Brit 
ain  —  before  the  Frank  had  passed  the  Rhine  —  when  grecian  eloquence 
still  flourished  at  Antioch~when  idols  were  still  worshiped  in  the  temple 
of  Mecca. 

2.  “Is  Mr.  Frazer  at  home?”  “No,  sir,  he  an’t.”  —  “Where  is  he 
gone  to?”  “I’m  sure,  sir,  I  can’t  tell.”  —  “Is  his  servant  in  the  way?” 
“No,  sir,  the  other  gentleman’s  gone,  too.” 


THE  INTEEKOGATION. 

1.  A  note  of  interrogation  (?)  is  used  at  the  end  of  an 
interrogative  sentence ;  that  is ,  when  a  question  is  asked : 
as,  “Who  will  accompany  me?”  “Shall  we  always  be 
friends  ?” 

2.  A  note  of  interrogation  should  not  be  employed  in 
cases  where  it  is  only  stated  a  question  has  been  asked, 
but  where  the  words  are  not  used  as  a  question :  as , 
“The  Cyprians  asked  me  why  I  wept.”  To  give  this 
sentence  the  interrogative  fonn ,  it  should  be  expressed  thus : 
“  The  Cyprians  said  to  me ,  ‘  Why  do  you  weep  ?  ’  ” 

As  it  is  often  the  case  that  persons,  in  reading  an  in¬ 
terrogative  sentence,  do  not  find  it  to  he  such  until  they 
come  to  the  point  at  the  end,  it  would  he  far  better  if  we 
could,  as  the  Spanish  writers  and  printers  do,  place  the 
point  at  the  beginning  of  the  interrogative  sentence :  as , 
instead  of  “What  time  is  it?”  to  put  it  thus:  ‘“iWhat 
time  is  it.” 

EXAMPLES. 

1 .  When  will  you  return  from  New-York  ? 

2 .  Can  our  curiosity  pierce  through  the  clouds ,  which  nature  has  made 
impenetrable  to  mortal  eye  ? 


THE  EXCLAMATION. 

The  note  of  exclamation  (!)  is  applied  to  expressions 
of  sudden  emotion,  surprise,  joy,  grief,  etc.,  and  also  to 
invocations  or  addresses :  as ,  “  My  friend !  this  conduct 
amazes  me !  ”  “  How  are  the  mighty  fallen !  ” 

When  the  interjection  oh  is  used,  the  point  is  generally 
placed  immediately  after  it ;  hut ,  when  0  is  employed ,  the 


14 


PRINTER’S  MANUAL  : 


point  is  placed  immediately  after  one  or  more  intervening 
words;  as,  “But  thou,  0  hope!  with  eyes  so  fair.”  “Oh! 
my  offence  is  rank;  it  smells  to  heaven.” 


EXAMPLES. 

1 .  To  lie  down  on  the  pillow ,  after  a  day  spent  in  temperance ,  how 
sweet  is  it! 

2.  Gripus  has  long  been  endeavoring  to  fill  his  chest,  and,  lo !  it  is 
now  full . 


It  is  difficult ,  in  some  cases ,  to  distinguish  between  inter¬ 
rogatory  and  exclamatory  sentences ;  hut  a  sentence  in  which 
any  wonder  or  admiration  is  expressed,  and  no  answer  is 
either  expressed  or  implied,  may  be  properly  terminated  by 
a  note  of  exclamation  :  as ,  “  How  much  vanity  in  the  pur¬ 
suits  of  men !  ”  “  What  is  more  lovely  than  virtue  1  ” 

The  interrogation  and  exclamation  points  are  indetermin¬ 
ate  as  to  their  quantity,  or  time;  and  may  be  equivalent, 
in  that  respect,  to  a  comma,  a  semicolon,  or  a  period,  as 
the  sense  may  require.  They  mark  an  elevation  of  the 
voice . 

The  utility  of  the  interrogation  and  exclamation  points 
will  appear,  from  the  folloiving  examples,  in  which  the 
meaning  is  signified  as  discriminated  solely  by  the  points  : 

EXAMPLES. 

1 .  What  do  you  think  ?  I’ll  shave  you  for  nothing  and  give  you  a  drink ! 

2 .  What !  do  you  think  I’ll  shave  you  for  nothing  and  give  you  a  drink? 


OTHER  POINTS  AND  MARKS. 

The  parentheses  (  )  are  used  to  enclose  a  word  or  clause 
not  essential  to  the  sentence,  but  introduced  to  make  it 
more  exi^licit;  and  which  may  be  omitted  without  injury  to 
the  meaning:  as,  “To  gain  a  posthumous  reputation  is  to 
save  four  or  five  letters ,  (  for  what  is  a  name  besides  ? )  from 
oblivion .” 

The  parenthesis  may  be  accompanied  by  any  point  which 
the  sense  may  require.  It  should  terminate  with  the  same 
kind  of  a  point  wliich  the  preceding  member  does,  and 
it  should  be  placed  outside  the  parenthetic  mark.  If  an 


PUNCTUATION.  15 

interrogation  or  exclamation  should  be  required,  it  must  be 
considered  an  exception  to  this  rule. 

Brackets  [  ]  enclose  a  word  or  sentence  which  is  to  bo 
explained  in  a  note,  or  the  explanation  itself,  or  a  word  or 
sentence  which  is  intended  to  supply  some  deficiency  or 
rectify  some  mistake:  as,  “He  [Mr.  Canning]  was  of  a 
different  opinion.” 

The.  asterisk  (*),  dagger  (f),  double-dagger  (|),  and 
parallel  (1|)  are  called  marks  of  reference ;  and  are  used 
in  the  body  of  printed  works,  to  call  the  attention  of  the 
reader  to  notes,  with  similar  marks,  at  the  bottom  of  the 
page. 

The  section  ( J )  and  paragraph  ( If )  were  used ,  origin¬ 
ally,  to  mark  where  change  of  subject,  and  breaklines  should 
occur.  The  paragraph  is  the  only  one  now  in  use,  and  that 
in  the  bible  merely,  to  distinguish  the  paragraph  from  the 
breakline  at  the  end  of  each  verse. 


WOKDS  CONTAINING  El  AND  IE. 

As  the  spelling  of  words  containing  ei  and  ie,  when  these 
diphthongs  have  the  sound  of  e  long,  is  a  source  of  trouble 
to  many  compositors,  the  following  lists  have  been  inserted, 
so  as  to  save  the  trouble  of  referring,  for  each  word,  to 


a  dictionary  : 

Words  containing  ei. 

ceil 

deceit 

either 

seignor 

ceiling 

deceive 

neither 

sein 

conceit 

perceive 

obeisance 

seize 

conceiTe 

disseize 

receive 

seizure 

Words  containing  ie. 

achieve 

fief 

lien 

retrieve 

aggrieve 

field 

mien 

sill  eld 

belief 

fiend 

niece 

shriek 

believe 

fierce 

piece 

siege 

bombardier 

financier 

pier 

thief 

brief 

grenadier 

pierce 

thieve 

brevier 

grieve 

priest 

tier 

brigadier 

grievous 

relief 

tierce 

cavalier 

lief 

relieve 

wield 

chief 

liege 

relievo 

yield 

16 


PRINTER’S  MANUAL  : 


WOKDS  ENDING  IN  -INQ,  -ED,  AND  -ER  OR  -OR. 


Monosyllables,  and  words  accented  on  the  last  syllable, 
ending  in  a  single  consonant  preceded  by  a  single  vowel, 
generally  double  the  final  consonant  on  taking  an  additional 
syllable  beginning  with  a  vowel :  as , 


abet 

fret 

plan 

trepan 


abetting 

fretting 

planning 

trepanniiij 


abetted 

fretted 

planned 

trepanned 


abettor 

fretter 

planner 

trepanner 


When  a  diphthong  precedes  the  final  letter,  or  when 
the  accent  is  not  on  the  last  syllable,  the  consonant  is  not 
doubled  on  assuming  an  additional  syllable :  as , 


seal 

sealing 

sealed 

sealer 

repeat 

repeating 

repeated 

repeater 

cool 

cooling 

cooled 

cooler 

level 

leveling 

leveled 

leveler 

travel 

traveling 

traveled 

traveler 

worship 

worshiping 

worshiped 

woi*shiper 

pilfer 

pilfering 

pilfered 

pilferer 

RETENTION  OF  E  IN  DERIVATIVES. 

Words  ending  in  -ce  and  -ge  retain  the  e  before  -ahle  and 
-ous,  to  preserve  the  soft  sound  of  c  and  g:  as, 

Peaceable..  Changeable..  Outrageous..  Courageous.. 


PLURALS. 

Nouns  ending  in  -y,  preceded  by  a  consonant,  and  those 
ending  in  -guy,  form  their  plurals  by  changing  y  into  i  and 
adding  es,  making  -ies:  as, 

fly  flies  duty  duties  city  cities 

ciy  cries  ruby  rubies  colloquy  colloquies 

Nouns  ending  in  -y  preceded  by  a  vowel,  generally  re¬ 
tain  the  y  in  forming  the  plural;  as, 

day  days  delay  delays  attorney  attorneys 

valley  valleys  money  moneys  boy  boys 


PLUKALS. 


17 


A  large  number  of  foreign  words  retain,  in  tlie  englisb. 
language,  the  -plural  form  they  have  in  the  languages  from 
which  they  have  been  borrowed.  The  following  list  com¬ 
prises  the  greater  part  of  them  : 


SINGULAR. 

PLURAL. 

SINQULAE. 

PLURAL. 

antithesis 

antitheses 

focus 

foci 

appendix 

arcanum 

appendices 

arcana 

genus 

hypothesis 

genera 

hypotheses 

automaton 

automata 

larva 

larv* 

axis 

axes 

imadam 

mesdames 

basis 

bases 

magus 

magi 

beau  . 

beaux 

medium 

media 

calx 

calces 

metamorphosis 

1  metamorphoses 

crisis 

crises 

minutia 

minutiae 

criterion 

criteria 

monsieur 

messieurs 

datum 

data 

stamen 

stamina 

effluvium 

effluvia 

stratum 

strata 

ellipsis 

ellipses 

parenthesis 

parentheses 

ephemeris 

ephemerides 

phenomenon 

phenomena 

erratum 

errata 

vortex 

vortices 

There,  are 

other  words, 

taken  from  foreign  languages 

which  have  two  plurals ;  one  formed  after  the  english  man¬ 
ner,  and  -the  other,  that  wHch  they  had  in  the  language 
from  which  they  were  taken :  as , 


:XN3ULAR,  ENCSLXSH  PLURAL. 

FOREIUN  FLURAL 

bandit 

bandits 

banditti 

cherub 

cherubs 

Cherubini 

dogma 

dogmas 

dogmata 

genius 

geniuses 

genii 

index 

indexes 

indices 

memorandum 

memorandums 

memoranda 

rabbi 

rabbis 

rabbins  - 

seraph 

,  seraphs 

iera,phim 

virtuoso 

virtuosos 

virtuosi 

When  a  title  and  a  name  are  used  together,  some  gram¬ 
marians  suggest  -that  the  title  only  should  have  the  pinral 
form :  as ,  the  Miasm  Glover ;  others ,  that  both  should  have 
the  plural  form :  as,  the  Misses  Glovers;  and  others,  that 
the  name  only  need  have  the  plural  form :  as ,  the  Miss 
Glovers.  The  last  is  the  correct  form,  if  the  two  words  are 
viewed  as  a  compound  term;  the  first,  if  they  are  viewed 
as  in  opposition;  the  second,  if  they  are  viewed  as  in  clas¬ 
sical  languages.  The  last— ■  namely,  the  Jfws  Glovers— 
sanctioned  by  the  highest  authorities. 

Compounds,  consisting  of  two-  or  more  words  connected 
by  a  hyphen ,  are  generally  composed  of  two  nouns ,  one 
of  w’hich  is  used  in  the  sense  of  an  adjective:  as,  man-trap. 


18 


PRINTER’S  MAJfUAL; 


where  man  is  really  an  adjective;  or,  of  a  noun  and  ad¬ 
jective,  as  court-martial;  or,  of  a  noun  and  some  expression 
having  the  force  of  an  adjective,  as  fatlier-in-law ,  where 
-in-law  has  the  force  of  an  adjective  as  much  as  legal.  In 
all  compounds  of  this  class,  the  plural  sign  is  added  to 
that  part  of  the  word  which  really  constitutes  the  noun, 
whether  at  the  end  or  not:  as, 

Man-tmps..  Courts-martial..  Fathers^in^law. .  Cousins-german* « 
Quoeu-consorts. . 

In  forming  the  possessive  case,  the  rule  i^  different;  the 
sign  being,  in  all  cases,  placed  at  the  end  of  tlie  com¬ 
pound  expression:  as, 

SINODLAR.  PLURAL.  FOSSESSIYR. 

f;ithei--in-law  fathers-in-law  father-in-law’s 

While  writing  of  the  possessive,  it  may  be  as  well  to 
remark,  that  proper  names,  which  end  with  an  s,  should 
have  an  additional  s  placed  after  the  apostrophe,  when  the 
singular  is  to  be  designated;  but,  when  the  plural  ought 
to  be  indicated,  the  apostrophe  should  be  used  without  the 
additional  letter:  as, 

SINGULAR  PLURAL. 

Thomas’s  book  .  Jones’  store . 

If  they  are  not  distinguished  by  some  method  like  this, 
there  will  be  no  way  of  ascertaining  whether  one  or  more 
persons  are  intended  to  be  indicated. 


DIVISION  OF  WOEDS. 


As  a  compositor  who  wishes  to  space  his  lines  uniformly 
will  have  to  make  divisions,  and  that  very  often,  (espe¬ 
cially  when  the  types  are  large  and  the  measure  is  narrow,) 
the  method  of  doing  so  will  be  made  as  plain  as  it  is  pos¬ 
sible  to  make  any  subject  upon  which  no  two  persons  have 
the  same  opinion.  In  doing  this,  it  %vill  be  seen  that,  di¬ 
viding  according  to  derivation,  instead  of  sound,  has  been 
followed;  because,  if  the  latter  method  is  adopted,  the 
same  combination  of  letters  will  have  to  be  divided  differ¬ 
ently,  according  to  the  situation  of  the  accent. 


DIVISION  OF  WORDS 


19 


I.  PREFIXES. 

1st. — English. 

When  either  of  the  prefixes ;  le-,  down-,  ever-,  for-,  fore-, 
gain-,  how-,  mis-,  out-,  som^,  un-,  under-,  up-,  and  with-,  com¬ 
mences  a  word,  and  it  is  necessary  to  make  a  division,  it 
may  be  done  after  the  prefix:  as, 

Be-speak..  Be-tween..  Down-right..  Eyer-more..  For-give..  Fore¬ 
tell..  Gain-say..  How-ever..  Mis-take..  Out-leap..  Some-where.. 
Un-able. .  Under-stand. .  Up-root. .  With-out. . 

2nd. — Latin. 

When  the  prefixes :  ante-,  circum-,  contra-,  co-,  col-, 
com-,  con-,  cor-,  de-,  dis-,  extra-,  in-,  il-,  im-,  inter-,  intro-, 
ob-,  per-,  post-,  pre-,  pro-,  retro-,  sub-,  suhter-,  super-,  and 
trans-,  occur,  it  is  better  to  divide  at  the  end  of  such  pre¬ 
fix  ,  than  at  any  other  place :  as , 


Ante-cedent..  Circum-stanoe. .  Contra-band..  Co-temporary.. 
Col-lect..  Com-bustion..  Con-sonant..  Cor-respond. .  De-scription.. 
Dis-advantage . .  Extra- vagance. .  In-equality..  Il-legal..  Im-mortal.. 
Inter-fere..  Intro-duce..  Ob-struct..  Per-fect. .  Post-humous.. 
Pre-judge..  Pro-ceed..  Retro-spect. .  Sub-altem..  Subter-fluent. . 
Super-intendent. .  Trans-marine . . 

The  word  Wness  does  not  belong  to  this  class ,  both  parts  of  the  word 
being  english. 


3rd. — Greek. 

The  Greek  prefixes :  ana-,  amphi-,  anti-,  apo-,  dia-,  cpi-, 
hyper-,  hypo-,  meta-,  para-,  peri-,  syl-,  sym-,  and  syn-,  can 
also  be  divided  from  the  other  part  of  the  word:  as, 

Ana-baptist..  Amphi-bious. .  Anti-dote..  Apo-gee..  Dia-metre.. 
Epi-logue..  Hyper-bole..  Hypo-crisy..  Meta-morphose..  Para-graph.. 
Peri-phrase..  Syl-logism..  Sym-pathy. .  Syn-onymous. . 


II.  TERMINATIONS. 

1st.  —  Terminations  generally. 

When  the  terminations:  -don,  -ever,  -fold,  -ful,  -fully, 
-fulness,  -hood,  -hind,  -less,  -lessness,  -like,  -ly,  -man  (-men), 
-ment,  -ness,  -out,  -self  (-selves),  -ship,  -some,  -teen,  -teenth, 
-ty,  -ward,  -where,  -wise,  -woman  (-women),  occur,  such 
ending  may  be  cut  off  from  the  rest  of  the  word,  and  put 
at  the  beginning  of  the  next  line:  as. 


20 


PRINTER’S  MANUAL  : 


Free-dom..  What-ever*.  Four-fold..  Ilealth-ful. .  Faith-fully. . 
Faith-fulness..  Child-hood..  Man-kind..  Friend-less..  Friend-lessness. . 
War-like..  Great-ly.  •  English-inan  (men)..  Frag-ment..  Good-ness.. 
Through-out..  My-self. .  Them-selves.  Friend-ship..  Tire-some. 
Thir-teen..  Fif-teenth..  For-ty..  Hack-ward..  No-where..  Other-wise.. 
Gentle-woman  (w'omen).. 


2nd.  —  Termination  •ing. 

If  it  is  necessary  to  divide  a  word  ending  with  this 
termination,  it  can  be  done,  provided  the  preceding  part  of 
the  word  has  undergone  no  change  on  account  of  the  addi¬ 
tion  of  this  syllable :  as , 

Concem-ing..  Meet-ing..  Know-ing.. 

But,  if,  in  the  formation  of  words  of  this  class,  the  pre¬ 
ceding  consonant  becomes  duplicated ,  and  ’  it  is  necessary  to 
divide  at  this  point,  one  of  the  consonants  doubled  must 
be  attached  to  the  termination :  as , 

Abet-ting..  Wed-ding..  Abhor-ring..  Concur-ring. . 

3rd  —  Other  Terminations. 

Words  tenninating  with  -able,  -age,  -ance,  -ate,  or  any 
other  derivative  or  grammatical  termination ,  may  be  divided 
at  that  point,  provided  no  preceding  letter  has  been  drop¬ 
ped  ;  as , 

Agree-able. .  Patron-age..  Import-ance. .  Proportion-ate. .  Refer-ence.. 
Teach-er. .  Teach-est. . 


OTHER  DIVISIONS. 

A  single  consonant  between  two  vowels  must  be  joined 
to  the  latter  syllable:  as,  de-light,  Iri-dal;  except  the  let¬ 
ter  x:  as,  ex-amine,  ex-ist.  Words  which  are  compounded 
are  also  excejitions :  as,  iip-on. 

Two  consonants,  proper  to  begin  a  word,  must  not  bo 
separated:  as,  fa-hle,  sti-Jle.  But,  when  they  come  between 
two  vowels,  and  are  such  as  can  not  commence  a  word, 
they  can  be  divided:  as,  al-most,  un-der,  insect,  cof-fin. 
Should  the  preceding  syllable  be  short,  the  consonants  may 
be  separated:  as,  cus-tard,  pub-lic,  gos-ling. 

When  three  consonants  meet  in  the  middle  of  a  word, 
if  they  can  begin  a  word ,  and  the  preceding  vowel  is 


DIVISION  OF  WORDS. 


21 


pronounced  long,  they  can  not  be  separated:  as,  de-thrme, 
destroy.  But,  when  the  vowel  of  the  preceding  syllable  is 
short,  one  of  the  consonants  always  belongs  to  that  sylla¬ 
ble:  as  dis-tract,  dis-prove. 

When  three  or  four  consonants,  which  are  not  proper 
to  begin  a  word,  meet  between  two  vowels,  the  first  con¬ 
sonant  is  always  attached  to  the  first  syllable,  in  making  a 
division:  as,  abstain,  com-plete,  em-hroil,  dap-ple,  constrain. 

Two  vowels,  when  they  are  not  pronounced  together, 
may  be  divided:  as,  soci-ety,  deni-al. 

Some  persons  object  to  the  division  of  words  at  all  in 
printing,  as  being  unnecessary,  and  displeasing  to  the  eye; 
but  then  they  must  sacrifice  all  regularity  of  spacing,  which 
is  still  worse,  and  has  the  appearance  of  bad  workmanship. 
A  compositor  should  make  each  give  way  a  little  to  the 
other,  always  preserving  such  a  uniformity  in  spacing  as 
will  prevent  any  glaring  disproportion  in  contiguous  lines. 

Avoid  dividing  words  in  lines  following  each  other; 
because  two  or  more  hyphens  at  the  ends  of  lines  have  a 
bad  appearance.  Proper  names,  sums  of  money,  series  of 
figures,  and  words  or  matter  of  like  character,  should  not 
be  divided. 

The  last  word  on  an  odd  page  should  not  be  divided; 
because,  to  see  the  remainder  of  the  word,  a  person  must 
turn  over  the  leaf,  and  thereby  he  will  often  lose  the  con¬ 
nection  of  the  subject.  When  it  can  not  be  conveniently 
avhided,  a  word  may  be  divided  at  the  bottom,  of  an  even 
page;  but  it  is  better  not  to  make  such  divisions,  as  it 
has,  to  say  the  least,  a  very  slovenly  appearance. 


COMPOUND  WOKDS, 

•  1.  When  each  of  two  contiguous  substantives  retains  its 

original  accent,  they  should  not  be  compounded;  as,  mas' ter 
huild'er.  But,  when  the  latter  loses  or  alters  its  accent,  the 
hyphen  should  be  inserted:  as,  ship-huilder . 

2.  When  two  substantives  are  in  apposition,  and  either 
of  them  is  separately  applicable  to  the  person  or  thing  de¬ 
signated  the  hyphen  should  be  omitted;  as,  Imight  templar. 


22 


PRINTER’S  MANUAL  . 


Wlien  they  are  not  in  apposition,  and  only  one  of  the  two 
is  separately  applicable  to  the  person  or  thing,  the  hyphen 
should  be  inserted:  as,  horse-dealer  —  one  who  is  a  dealer, 
but  not  a  horse. 

3.  When  the  first  substantive  serves  the  purpose  of  an 
adjective,  expressing  the  matter  or  substance  of  which  the 
second  consists,  and  may  be  placed  after  it  with  of  (not 
denoting  possession),  the  hyphen  should  be  omitted:  as, 
silk  gown  —  i.  e.,  a  gown  of  silk.  When  the  first  does 
not  express  the  matter  or  substance  of  the  second,  and 
may  be  placed  after  it  with  of  (denoting  possession),  or 
with  for  or  belonging  to,  the  hyphen  should  be  inserted  : 
as,  school-master,  play-time,  cork-screw ,  laundry-rnoid . 

4.  Between  an  adjective  and  its  substantive  the  hyphen 
should  be  omitted:  as,  high  sheriff,  prime  minister.  When 
an  adjective  and  its  substantive  are  used  as  a  kind  of 
compound  adjective  to  another  substantive,  the  hyphen 
should  be  inserted  between  the  former  tiyo  i  as,  high-church 
doctrine,  tenr gallon  keg. 

5.  When  an  adjective,  or  an  adverb,  and  a  participle 
immediately  following,  are  used  together  as  a  compound 
adjective,  merely  expressing  an  inherent  quality,  without 
reference  to  inherent  action ,  and  ( in  order  of  syntax  )  pre¬ 
ceding  the  substantive  to  which  they  are  joined,  the  hyphen 
should  be  inserted:  as,  yellow-covert  literature,  quick-sailing 
vessel.  But,  when  they  imply  immediate  action,  and  (in 
order  of  syntax)  follow  the  substantive,  the  hyphen  should 
be  omitted:  as,  “The  ship  quick  sailing  o’er  the  deep.” 


PHRASES  AND  SIGNS. 


In  this  division  -will  he  given  an  extended  list  of  Latin 
and  French  phrases ;  Abbreviations  generally ;  Astronomical , 
Algebraical,  Geometrical,  and  Medical  signs;  a  complete  list 
of  Koman  numerals ;  Commercial  abbreviations ;  Accents , 
and  other  signs  and  marks;  and  a  collection  of  the  Elisions 
in  general  use. 


LATIN  AND  PEENCH  PHRASES. 


Ah  initio, 

Ab  urbe  condita, 

A  capite  ad  calcem. 
Accedas  ad  curiam. 

Ad  arbitrium. 

\/  Ad  captandum, 

Ad  captandum  vulgus. 

Ad  eundem. 

Ad  infinitum. 

Ad  interim. 

Ad  libitum. 

Ad  litem. 

Ad  ostentationem  opum. 
Ad  referendum. 

Ad  valorem. 

Affaire  de  coeur. 
^Afflavit  Deus  et  dissipantur 

V,  A'  fin, 

^  A  fortiori. 

Aide-de-camp. 

A  la  bonne  heure. 


From  the  beginning. 

From  the  building  of  the  city. 
From  head  to  foot. 

You  may  approach  tho  bench. 
At  pleasure. 

To  attract.- - - 

To  ensnare  the  vulgar. 

To  the  same. 

To  infinity. 

In  the  meantime. 

At  pleasure. 

For  the  action  (at  law). 

To  show  off  his  works. 

For  consideration. 

According  to  value. 

A  love  affair;  an  amour, 

God  has  sent  forth  his  breath  and 
they  are  dispersed. 

To  the  end. 

With  stronger  reason. 

Assistant  to  a  general. 

At  an  early  hour;  in  the  nick 
of  time. 


24 


PRINTER’S  MANUAL  ; 


A  la-mode. 

Alias. 

Alibi. 

Alma  mater. 

A  mensa  et  thoro. 

Amor  patriae. 

Anglice . 

Anno  Domini. 

Anno  mundi. 

Anguillam  cauda  tenes. 

A  posteriori. 

A  priori. 

'’^A'  propos. 

Arcana. 

Arcana  imperii. 

^  Argumentum  ad  fidem . 
Argumentum  ad  hominem 
Argumentum  ad  judicium. 

Argumentum  ad  passiones 
Argumentum  ad  populum 
Argumentum  baculiuum . 
Arrectis  auribus. 

Ars  est  celare  artem. 


In  the  fashion. 

Otherwise . 

Elsewhere;  or,  proof  of  having 
been  elsewhere. 

Kind  mother. 

From  bed  and  board. 

The  love  of  our  country. 

In  English. 

In  the  year  of  our  Lord. 

In  the  year  of  the  world. 

You  hold  an  eel  by  the  tail. 
From  a  later  reason ;  or,  from 
behind. 

From  a  prior  reason. 

To  the  purpose;  seasonably,  or, 
by- the- by. 

Secrets . 

State  secrets. 

An  appeal  to  our  faith. 

,  Personal  argument. 

An  appeal  to  the  common  sense 
of  mankind. 

An  appeal  to  the  passions. 

An  appeal  to  the  people. 
Argument  of  blows. 

With  ears  pricked  up. 

It  is  the  hight  of  art  to  con- 


Audi  alteram  partem. 
An  fond. 

Auri  sacra  fames. 

Aut  Caesar  aut  nullus. 
Auto-da^fe . 


ceal  art. 

Hear  both  sides. 

To  the  bottom;  or,  main  point. 
The  accursed  thirst  for  gold. 

He  will  be  Csesar  or  nobody. 
Act  of  faith. 


Bagatelle. 
Beau  monde. 
'''Beaux  esprits. 
,  Belles  lettres. 
Billet  doux. 
Bon  gre. 

^  Bon  jour. 

V  Bon  mot. 


Trifle. 

People  of  fashion. 
Men  of  wit. 

Polite  literature. 
Love  letter. 

With  a  good  grace. 
Good  day . 

A  witty  saying. 


PHRASES  AND  SIGNS. 


25 


Bon  ton. 

Bona  Me . 

Boudoir. 

'  ’  Cacoethes  carpendi . 

^  Cacoetlies  loquendi. 
Cacoethes  scribeiidi. 
Caeteris  paribus. 
iX'Caput  mortuum. 

Carte  blanche. 

Caveat  emptor.fc^ 
Cessio  bonorum. 
Chateau . 

Chef-d’oeuvre  r 
Ci-devant . 

Comme  il  faut. 
Commune  bonum. 
Comm  unibus  annis. 
Compos  mentis.*^ 

^  Con  amore.'^ 

■  Concordia  discors. 
Conge  d’elire. 
Consensus  facit  legem. 
Contra . 

Contra  bonos  mores 
Couj)  de  grace. 

Coup  de  main. 

^oup  d’oeil. 

^Credat  Judaeus.  _ 

^  Cui  bono  ? 

Cui  malo  ? 

Cum  multis  aliis. 

Cum  privilegio. 

Curia  advisari  vult. 
^Currente  calamo. 
'\Custos  rotulorum . 

Datum . 

Debut. 

wx^e  die  in  diem . 

3 


Fashion;  high  fashion. 

In  good  faith. 

A  small  private  apartment. 

A  rage  for  collecting. 

A  rage  for  speaking. 

Passion  for  writing . 

Other  circumstances  being  equal. 
(The  dead  head).  The  worth¬ 
less  remains. 

Unconditional  terms. 

Let  the  bnyer  beware. 

Yielding  up  of  goods. 

Country  seat. 

Master  piece. 

Formerly . 

As  it  should  be. 

A  common  good. 

One  year  with  another. 

Of  a  sound  and  comjiosed  mind. 
Gladly;  with  love. 

A  discordant  harmony. 
Permission  to  choose  or  elect. 
Consent  makes  the  law. 

Against . 

Against  good  manners  or  morals . 
Finishing  stroke. 

Sudden  enterprise. 

View,  or  glance. 

A  Jew  may  believe  it  (but  I 
~will  not). 

To  what  good  will  it  tend? 

To  what  evil  wnll  it  fend? 
With  many  others. 

With  privilege. 

Court  wishes  to  be  advised. 
With  a  running  quill. 

Keeper  of  the  rolls. 

Point  granted. 

Beginning. 

From  day  to  day. 


26 


PRINTER’S  MANUAL  : 


Dedimus  potestatem . 

We  have  given  power. 

De  facto. 

In  fact. 

Dei  gratia. 

By  the  grace  or  favor  of  God. 

De  jure. 

By  right. 

De  mortuis  nil  nisi  bonum . 

Of  the  dead  let  nothing  be  said 
but  what  is  favorable. 

De  novo. 

Anew . 

Denouement. 

(Unraveling).  Winding  up. 

Deo  vol elite. 

God  willing. 

Depot. 

Store,  or  magazine. 

Dernier  ressort. 

Last  resort  or  resource. 

Desideratum . 

A  thing  desired. 

Desunt  caetera. 

The  other  things  are  \vanting. 

Detour. 

A  circuitous  route. 

Dextro  tempore. 

At  a  favorable  moment. 

Dieu  et  mon  droit. 

God  and  my  right. 

Divide  et  impera. 

Divide  and  rule. 

Di vitae  virum  faciunt. 

Riches  make  the  man. 

Domine,  dirige  nos. 

0  Lord,  direct  us. 

Double  entendre. 

Double  meaning. 

Douceur. 

Present,  or  bribe. 

Dramatis  personae. 

Characters  of  the  drama. 

Dum  lego,  assentior. 

While  I  read,  I  assent. 

Durante  bene  placito. 

During  pleasure. 

Durante  vita. 

During  life. 

Dux  foemina  facti. 

A  woman  was  the  leader  of  it. 

Ecce  homo. 

Behold  the  man. 

Eclahcissement. 

Explanation;  clearing  up. 

Eclat. 

Splendor . 

Eleve . 

Pupil . 

Embonpoint . 

Jolly;  in  good  condition. 

En  masse. 

In  a  mass;  in  a  body. 

En  passant. 

By  the  waj-;  in  passing. 

Ennui . 

W  eariness . 

Entree . 

Entrance . 

Ergo. 

Therefore . 

Errata . 

Errors . 

Esto  pcrpetua. 

May  it  last  for  ever. 

Et  caetera. 

And  others. 

Ex. 

Late;  as  the  ex-minister  means 
the  late  minister. 

PHRASES  AND  SIGNS. 


27 


Ex  cathedra,. 

(From  the  chair).  Instructions 
given  from  a  chair  of  au¬ 
thority. 

Excerpta. 

Extracts . 

Ex  nihilo  nihil  fit. 

Nothing  can  come  of  nothing. 

Ex  officio. 

Officially ;  or ,  by  virtue  of  office . 

Ex  parte. 

On  the  part  of ;  or ,  one  side . 

Experto  crede. 

Believe  one  who  has  experience. 

Ex  tempore. 

Out  of  hand;  without  premedi¬ 
tation  . 

Fac  simile . 

Exact  copy  or  resemblance. 

Fata  obstant. 

The  fates  oppose  it. 

Faux  pas. 

Fault,  or  misconduct. 

Felo  de  se. 

The  felon  of  himself. 

Festina  lente. 

Hasten  slowly. 

Fete. 

A  feast,  or  entertainment. 

Fiat. 

Let  it  be  done  or  made. 

Fiat  justitia,  ruat  coelum. 

Let  justice  be  done,  though  the 
heavens  should  fall. 

Finis . 

End. 

Finis  coronat  opus. 

The  end  crowns  the  work. 

Flagrante  hello . 

Whilst  the  war  is  raging. 

Furor  loquendi. 

An  eagerness  for  speaking. 

Furor  scribendi . 

An  eagerness  for  writing. 

Genus  irritabile. 

The  irritable  tribe  of  poets. 

Gratis . 

For  nothing. 

Gratia  gratiam  parit. 

Kindness  begets  kindness. 

Habeas  corpus. 

Hauteur . 

Hie  et  ubique. 

Honi  soit  qui  mal  y  pense . 
Hora  fugit. 

Hors  de  combat. 
Humanum  est  errare. 


You  may  have  the  body. 
Haughtiness . 

Here  and  there  and  everywhere. 
Evil  to  him  who  evil  thinks. 
The  hour,  or  time,  flies. 

Out  of  condition  to  fight. 

To  err  is  human. 


Ibidem . 
...-Ich  dien. 
Id  est. 
Idem . 


In  the  same  place. 
I  serve. 

That  is. 

The  same. 


28  rilINTEK’S  MANT’AL 


Ignis  fatuus. 

Ignoramus . 

Impcrium  in  imperio. 
Imprimatur . 

Imprimis. 

Impromptu . 

"  In  coelo  quies. 

Incognito . 

In  commendain. 

Ill  duplo. 

In  extenso. 

In  forma  iiauperis. 

In  hoc  signo  vinces. 

In  loco. 

Innuendo. 

In  petto. 

In  propria  persona. 

In  ijuris  naturalibus. 

In  statu  quo. 

An  illusory  fire. 

We  are  ignorant. 

One  government  within  another. 
Let  it  be  printed. 

In  the  first  place. 

In  readiness. 

There  is  rest  in  heaven. 
Disguised,  or  unknown. 

For  a  time;  in  trust. 

Twice  as  much. 

In  full. 

As  a  pauper,  or  poor  person. 

By  this  sign  thou  shalt  conquer. 
In  the  jJace. 

By  intimation  or  hinting. 

In  the  bosom  ;  hid,  or  in  reserve. 
In  his  own  person. 

In  a  state  of  nature. 

In  the  same  state  or  condition 
in  which  it  was. 

ul  Inter  nos. 

A  In  terrorem. 

Inter  utrumque  tenet. 

In  toto. 

In  transitu. 

In  vino  veritas. 

Ipse  dixit. 

Ipso  facto. 

Ipso  jure. 

Item . 

Between  ourselves . 

In  terror ;  as  a  ivarning . 

He  holds  his  pilace  between  both. 
Altogether. 

On  the  jiassage. 

There  is  truth  in  wine. 

Himself  said  it;  mere  assertion. 
By  the  mere  fact. 

By  the  law  itself. 

Also,  or  article. 

Je  no  sais  quoi. 

^  Jeu  de  mots. 

Jen  d’esjirit. 

Jure  divino. 

Jure  liumano. 

Jus  gentium. 

I  know  not  what. 

Play  upon  words. 

Play  of  wit;  a  witticism. 

By  divine  law. 

B_y  human  law. 

The  law  of  nations. 

Labor  ipse  voluptas. 
Labor  omnia  vincit. 

L’ argent. 

Latet  anguis  in  liei'ba , 

Even  labor  itself  is  a  pleasure. 
Labor  overcomes  every  thing. 
Money,  or  silver. 

A  snake  lies  hidden  in  the  grass. 

PHRASES  AND  SIGNS. 


29 


Lex  talionis. 

The  law  of  retaliation. 

Libertas  et  natale  solum. 

Liberty  and  my  native  land. 

Licentia  vatuin. 

A  poetical  license. 

Linguae  lapsus. 

A  slip  of  the  tongue. 

Lis  litem  generat. 

Contention  begets  contention. 

Locum  tenens. 

A  substitute,  a  deputy. 

Magna  charta. 

The  great  charter. 

Magna  est  Veritas,  et  prae- 
valebit . 

Truth  is  powerful,  and  will  pre¬ 

Mai  a  propos. 

vail. 

Unseasonable,  or  unseasonably. 

Mala  fide. 

In  bad  faith. 

Malgre. 

With  an  ill  grace. 

Mandamus . 

We  command. 

Manu  forti. 

With  a  strong  hand. 

Mauvaise  honte.- 

Unbecoming  bashfulness. 

Mediae,  cura  te  ipsum. 

Doctor,  cure  thyself. 

Meditatione  fugae. 

In  contemplation  of  flight. 

Memento  niori. 

Be  mindful  of  death. 

Memorabilia.  ' 

Things  to  be  remembered. 

Mens  conscia  recti. 

A  mind  conscious  of  rectitude. 

Meum  et  tuum. 

Mine  and  thine. 

Minutiae . 

Trifles . 

Mirabile  dictu. 

Wonderful  to  tell. 

Mirabile  visu. 

Wonderful  to  be  seen. 

Mittimus . 

We  send. 

'Multa  docet  fames. 

Hunger  teaches  many  things. 

Multum  in  parvo. 

Much  in  a  small  space. 

Mutatis  mutandis. 

After  the  necessary  changes. 

Natio  comaedia  est. 

The  nation  is  but  a  company  of 

Necessitas  non  habet  legem 
Nec  prece  nec  pretio. 
Neraine  contradicente . 

N  emine  dissentiente . 

Nemo  me  impune  lacesset. 

Ne  plus  ultra. 

Ne  puero  gladimn. 

Ne  quid  nemis. 


comedians . 

Necessity  has  no  law. 

Neither  by  entreaty  nor  bribe. 
Nobody  disagreeing. 

Without  a  dissenting  voice. 
Nobody  shall  provoke  me  with 
impunity . 

No  farther;  or,  greatest  extent. 
Do  not  give  a  child  a  sword. 
Too  much  of  one  thing  is  good 
for  nothing. 


30 


PRINTER’S  MANUAL  : 


Nervi  belli  argentum  est. 
Nihil  sub  sole  novi. 

Nisi  Dominus  frustra. 


Nolens  volens. 

Nom  de  guerre. 

Non  compos  mentis. 

Non  est  inventus. 
Nonchalance . 

Non  semper  erit  aestas. 

,  Nota  bene. 

Nullum  infortuniuui  solum 
-'T'TSlimc  pro  tunc. 


1 


Obscurum  per  obscurius. 

Occasio  facit  furem. 
^Occupet  extremum  scabies. 
Omnia  venalia  nummo. 

On  dit. 

Onus . 

Onus  probandi. 

Optimum  obsonium  labor. 
Ore  tenus. 

0!  tempora,  0!  mores, 
Otium  cum  dignitate . 

—  Otium  omnia  vitia  parit. 
Otium  sine  dignitate. 

Outre . 


Money  forms  the  sinews  of  war. 
There  is  nothing  new  under  tlie 
sun . 

Unless  the  Lord  be  with  us,  all 
eflbrts  are  in  vain. 

Willing  or  unwilling. 

Assumed  name. 

Not  in  a  sound  state  of  mind. 
Not  found. 

Inditference . 

It  will  not  always  be  summer. 
Mark  well. 

.Misfortunes  never  come  alone. 
Now  for  then. 

To  make  an  obscure  subject  more 
so  by  exjdanation. 

Opportunity  makes  the  thief. 
The  devil  take  the  hindmost. 
Every  thing  has  its  jrrice. 

They  sa)'. 

Burden . 

Burden  of  proof. 

Labor  gives  the  best  relish. 
From  the  mouth ;  bj-  -word  of 
mouth . 

Oh ,  the  times  !  Oh ,  the  manners  ! 
Leisure  with  dignity. 

Idleness  produces  every  vice. 
Leisure  without  dignity. 
Preposterous . 


Pari  passu. 

Particeps  criminis . 

Passim .  ■ 

Pater  patriae . 

Pax  in  hello, 
s  Peccavi . 

Pecuniae  obediunt  omnia. 
Pendente  lite. 


With  an  equal  pace. 

A  partaker  in  crime. 

Everywhere . 

The  father  of  his  country. 
Peace  in  war. 

I  have  sinned . 

Money  will  buy  every  thing. 
While  the  action  (at  law)  is 
pending . 

By  the  court. 


Per  curiam . 


PHKASKS  AND  SIGNS. 


31 


Perdue . 

Per  fas  et  nefas. 

Permitte  divis  caetera. 

Per  saltum.  - 
Per  se  _ 

Petit  maitre. 

“Peu  de  bien,  pen  de  .soin. 
Plus  sonat  quam  valet. 

Posse  comitatus. 

Post  helium  auxilium. 
Post  tenebras  lux. 
Postulata. 

Pour  autre  vie . 

Prima  facie. 

Priinum  mobile. 

Primus  inter  pares. 
Principiis  obsta. 

Pro  aris  et  focis . 

Pro  bono  publico. 

Pro  et  con. 

Pro  forma. 

Pro  liac  vice. 

Pro  loco  et  tempore. 

Pro  re  nata. 

Pro  tanto. 

Pro  tempore. 

Protege . 


Concealed . 

By  right  or  wrong. 

Leave  the  rest  to  the  gods. 

By  a  jump. 

Alone;  by  itself. 

(  Little  master  )  .  Fop . 

Little  property,  little  care. 

He  makes  more  noise  than  his 
company  is  worth. 

The  power  of  the  county. 

Aid  after  the  war. 

Light  comes  after  darkness. 
Things  required. 

For  the  life  of  another. 

On  the  first  view. 

The  prime  mover. 

The  first  among  his  equals. 
Eesist  the  first  innovations. 

For  our  altars  and  our  hearths. 
For  the  public  good.  ^ 

For  and  against. 

For  form’s  sake. 

For  this  time. 

For  the  place  and  time . 

For  the  occasion. 

For  so  much. 

For  the  time;  or,  For  a  time. 
A  person  patronized  or  protected. 


Quamdiu  se  bene  gesseret. 

Quantum . 

Quantum  meruit. 

Quare  impedet. 

Quasi  dicas. 

Quid  nunc? 

Quid  pro  quo. 

Quis  separabit  ? 

Quoad  hoc. 

Quo  animo . 

Quo  jure  ? 

Quondam . 


As  long  as  he  shall  have  acted 
well. 

The  due  proportion. 

As  much  as  he  deserves. 

Why  he  hinders. 

As  though  you  should  say. 
What  now  ? 

A  mutual  consideration. 

Who  shall  separate  us  ? 

As  to  this. 

The  intention  with  which . 

By  what  right? 

Formerly . 


32 


I’llINTKR’S  MANUA].  : 


Re  infecta. 

Requiescat  in  jiace . 
llespice  fiuem . 

Res  piiblica. 

Respiie  quod  non  es. 
Resuvgani . 

Rouge . 

linse  (le  guerre. 

Rus  in  urbe . 


Tlie  business  not  being  done . 
May  he  ( or  she  )  rest  in  jjeace . 
Look  to  the  end. 

The  common  good . 

Do  not  appear  wliat  you  are  not. 
1  shall  rise  again. 

Pied,  or  red  paint. 

A  stratagem  in  war. 

The  country  in  town . 


Sang  froid . 

Sans . 

Satis  superque. 

Sauve  qui  pent. 

Savant . 

Scandalum-  magnatum . 

Secundo  amne  defluit. 
Semel  et  simul . 

Semper  avarus  eget. 

' —  Semper  eadem  . 

Senatus  consultum . 
Seriatim . 

Sic  passim. 

Sic  transit  gloria  mundi. 
Sicut  ante. 

Simplex  munditiis . 

Sine  die . 

Sine  qua  non . 

Soi-disant . 

Specie  duci. 

Spectas  et  tu  spectaberis . 
Spes  alit  exules . 

Statuae  ercctae  stultitiae. 
Status  quo . 

Sua  cuique  vohqkas. 

Sub  poena . 

Sui  generis . 

Siiinmum  bommi . 


Blood  cold ;  coolness . 

Without. 

Enough  and  more  than  enough. 
Let  him  save  himself  Avho  can . 
A  learned  man . 

Scandal,  or  scandalous  stories  re¬ 
lating  to  the  upper  classes. 

He  floats  with  the  stream. 

At  once  and  together. 

The  miser  is  always  in  want. 
Always  the  same . 

A  decree  of  the  senate . 

In  regular  order. 

So  every  where. 

Thus  vanishes  worldly  glory. 

As  mentioned  before. 

Simple  elegance  ;  free  from  or¬ 
nament. 

'Without  naming  any  particular 
day . 

(Without  which  not).  Indis¬ 
pensable  requisite . 

(  Self-styling  ) .  Pretended . 

To  be  caught  by  appe.irances . 
You  see  and  you  will  be  seen . 
Hope  supports  ns  even  in  exile . 
Living  images  of  folly. 

The  state  in  which  it  was. 
Every  one  has  his  hobby. 

Under  the  penalty. 

Singular;  of  its  own  kind. 
Greatest  good. 


PIIKASES  AND  SIGNS. 


Sunt  superis  sua  jura. 

Supra .  ' 

Suum  cuique . 
i^Suum  cuique  pulclirum. 


Tapis 

Tete  a  tete. 

Timor  mortis  morte  pejor. 

Toties  quoties. 

Trait . 

Tria  juucta  in  uno. 
Tutum  silentii  praemium. 

Ultimo  ratio  regum. 
Ultimus . 

Una  voce. 

Un  bel  esprit. 

Unique . 

Usus  adjuvat  artem . 

Utile  dulci. 

Uti  possedetis. 

Vade  mecum . 

Vale. 

V  alet-de-chambre . 

V  el  uti  in  speculum . 

Ventis  verba  fundis. 

V  erbatim . 

Versus . 

Vestis  virum  facit. 

Veto . 

Via. 

Vice. 

Vice  versa. 

Vide. 


33 

The  gods  themselves  are  bound 
by  laws. 

Above . 

Let  each  man  have  his  owm. 
Every  man  pronounces  his  own 
beautiful . 

Carpet . 

Face  to  face ;  private  conversa¬ 
tion  of  two  persons . 

The  fear  of  death  is  worse  than 
death .  ' 

As  often  as. 

F  eature . 

Three  joined  in  one . 

The  reward  of  silence  is  certain. 

The  final  appeal  of  kings. 

The  last. 

Unanimously . 

A  wit;  a  virtuoso. 

Singular . 

Habit  instructs  us  in  our  trade. 
Utility  w'ith  ideasure. 

As  you  possess;  or,  present  pos¬ 
session  . 

Constant  companion. 

Farewell . 

A  servant  Avho  assists  his  mas¬ 
ter  in  dressing. 

As  in  a  looking-glass. 

You  talk  to  the  Avind. 

Word  for  Avord . 

Against . 

The  garment  makes  the  man. 

I  forbid. 

By  Ava}^  of. 

In  the  place  of. 

The  terms  being  e-vchanged,  or 
reversed . 

See. 


34 


PKINTEK’S  MANUAL  : 


Vide  ut  supra. 

Vi  et  armis. 

A’ir  sapiens  forti  inelior. 

Vis  pnetica. 

Viva  voce. 

Vive  la  bagatelle. 

Vox  et  praeterea  nihil. 
Vox  populi. 

Vulgo . 


See  as  above. 

force  and  arms . 

A  ^vise  man  is  better  than  a 
brave  one. 

Poetic  genius. 

By  the  living  voice . 

Success  to  trifles. 

A  voice  and  nothing  more. 

The  voice  of  the  people. 
Commonly . 


ABBKEVIATIONS. 


A. 

Answer. 

A.A.S. 

Fellow  of  Amer¬ 
ican  academy. 

A.B. 

Bachelor  of  arts. 

A.D. 

The  year  of  our 
Lord . 

A.M. 

Master  of  arts. 

A.M. 

Before  noon . 

A.M. 

In  the  yew  of  the 
world . 

A.U.C. 

From  the  year  of 
the  huilding  of 
the  city. 

Abp. 

Archbishop . 

A'lmr. 

Administrator. 

AL,  Ala. 

Alabama . 

Anon. 

Anonymous . 

Apr. 

April . 

Atty. 

Attorney. 

Aug. 

August. 

B.A. 

Bachelor  of  arts. 

B.C. 

Before  Christ. 

B.C. 

Bachelor  of  Civil 
law . 

B.D. 

Bachelor  of  di¬ 
vinity  . 

B.M. 

Bachelor  of  medi¬ 
cine  . 

B.V. 

Blessed  Virgin. 

Bart. 

Baronet. 

Bp. 

Bishop . 

Cal. 

California. 

Cant. 

Canticles . 

Capt. 

Captain . 

Cash. 

Cashier . 

Chap. 

Chapter. 

Chron. 

Chronicles. 

Clk. 

Clerk . 

Co. 

Company,  County. 

Col. 

Colonel . 

Com. 

Commissioner. 

Conn.,  Ct. 

Connecticut. 

Cor. 

Corinthians. 

B.C. 

Bistrict  of  Colum¬ 
bia. 

D.C.L. 

Boctor  of  Civil 
la\v . 

B.D. 

Boctor  of  divin- 
it}^ 

B.F. 

Bean  of  faculty. 

B.M. 

Boctor  of  music. 

Bea. 

Beacon . 

Bee.,  10''®'' 

Becember. 

Beg. 

Begree. 

Bel. 

Belaware . 

Bept. 

Beputy . 

PHKASKS  AND  SIGNS. 


35 


D.V. 

God  willing. 

Dr.,  D^ 

Doctor . 

Dent. 

Deuteronomy. 

E. 

East. 

e.  g. 

for  example. 

Eccl. 

Ecclesiastes . 

Efl. 

Edition,  Editor. 

Eng. 

English,  England. 

Ep. 

Epistle . 

Eph. 

Ephesians . 

Esq. 

Esquire . 

et  al. 

and  others. 

etc. 

and  so  forth. 

Ex. 

Exodus,  example. 

Exr. 

Executor . 

F.A.S. 

Fellow  of  the  An¬ 
tiquarian  soci- 
et  }’•. 

E.A.S.S. 

Fellow  of  the  An¬ 
tiquarian  socie¬ 
ty  of  Scotland. 

F.E.S. 

Fellow  of  the  Eth¬ 
nological  soci¬ 
ety. 

F.H.S. 

Fellow  of  the  Hor¬ 
ticultural  soci¬ 
ety. 

F.L.S. 

Fellow  of  the  Lin- 
najan  society. 

F.E.A.S. 

Fellow  of  the  Eoy- 
al  Astronomical 
society . 

F.E.S. 

Fellow  of  the  Eoy- 
al  society. 

F.E.S.E. 

Fellow  of  the  Eoy- 
al  society  of  Ed¬ 
inburgh  . 

F.S.A. 

Fellow  of  the  So¬ 
ciety  of  arts . 

F.T.C.D. 

Fellow  of  Trinity 
college,  Dublin. 

Feb. 

February . 

Fig. 

Figure . 

Flor. 

Florida . 

G.B. 

Great- Britain . 

G.C.B. 

Grand  Cross  of 
the  Bath. 

Ga. 

Georgia. 

Gal. 

Galatians . 

Gen. 

Genesis,  General. 

Gent. 

Gentleman . 

Gov. 

Governor . 

H.B.M. 

His  or  Her  Britan¬ 
nic  Majesty. 

H.E.H. 

His  or  Her  Eoyal 
Highness . 

h.  e. 

that  is ,  this  is . 

Heb. 

Hebrews. 

Hon. 

Honorable . 

I.H.S. 

J esus ,  the  Saviour 
of  Men. 

LN.E.I. 

Jesus  of  Naz¬ 
areth,  king  of 
the  Jews. 

i.  c. 

that  is . 

la. 

Iowa . 

ib. ,  ibid. 

in  the  same  place . 

id. 

the  same. 

lud. 

Indiana. 

inst; 

instant. 

Isa.,  Is. 

Isaiah . 

J.D. 

Doctor  of  law. 

J.P. 

Justice  of  the 
peace. 

J.V.D. 

Doctor  of  Civil 
and  Canon  law. 

Jan. 

J  anuary . 

Jas. 

James . 

Josh. 

Joshua. 

jiin.,  J'' 

junior. 

k. 

King . 

K.A.N. 

Knight  of  Alex¬ 
ander  Newski, 
of  Eussia. 

36  FlllNTEK'S 


K.B. 

Knight  bachelor. 

K.B. 

Knight  of  the 
Bath. 

K.B.E. 

Knight  of  the 
B 1  a  e  k  Eagle , 
of  Prussia. 

K.C. 

Knight  of  the 
Crescent,  of 
Turkey . 

K.C.B. 

Knight  Comman¬ 
der  of  the  Bath. 

K.C.S. 

Knight  of  Charles 
IIL,  of  Spain. 

K.G. 

Knight  of  the 
Garter . 

K.G.F. 

Knight  of  the 
Golden  Fleece, 
of  Spain,  or  of 
Austria. 

K.G.IL 

Knight  of  Guelph 
of  Hanover. 

K.G.Y. 

Knight  of  Gusta- 
vus  Vasa,  of 
Sweden . 

K.II. 

Knight  of  Hano¬ 
verian  Guelph- 
ic  order. 

K.L.A. 

Knight  of  Leo¬ 
pold  of  Aus- 
t  r  i  a. 

K.L.Tl. 

Knight  of  the  Le¬ 
gion  of  honor. 

K.M. 

Knight  of  iMalta. 

K.M.T. 

Knight  of  Maria 
Tlieresa,  of 
Austria. 

K.N.S. 

Knight  of  the 

Royal  North 
Star,  of  Swe¬ 
den  . 


Knight  of  St.  Pa¬ 
trick  . 


jM  n  u  a  l 

K.E.E. 

Knight  of  the  Red 
Eagle,  of  Prus¬ 
sia. 

K.S. 

Knight  of  the 
Sword,  of  Swe¬ 
den  . 

K.S.L. 

Knight  of  the 
Sun  and  Lion , 
of  Persia. 

K.T. 

Knight  of  the 
T  h  i  s  1 1  e . 

K.T.S. 

Knight  of  the 
Tower  and 
Sword,  of  Por¬ 
tugal. 

K.W. 

K  n  ig  h  t  of  Wil¬ 
liam,  of  the 
Netherlands. 

Kal. 

Calends. 

Km. 

Kingdom . 

Knt. ,  Kt. 

Knight. 

Kv. 

Kentucky. 

L.C. 

Lower-Canada. 

LL.B. 

Bachelor  of  laws. 

LL.D. 

Doctor  of  laws. 

L.S. 

Place  of  the  seal. 

La.,  Lou. 

Louisiana. 

Lat. 

Latitude. 

Lev. 

Leviticus. 

Lieut. 

Lieutenant. 

Lon. 

Longitude. 

M. 

Marquis. 

M.A. 

Master  of  r.rts. 

IM.B. 

Bachelor  of  medi- 
cii  c. 

M.B. 

Bachclo;  (  f  music. 

IM.D. 

Doctor  of  medi¬ 
cine. 

MM. 

IMessieurs. 

M.R.I.A. 

Member  of  tl.e 
R  0  y  a  1  Iris  h 
a  c  a  d  e  m  v  . 

K.P. 


PHRASES  AND  SIGNS. 


M.r. 

Member  of  imrlia- 

01. ,  Olymp.  Olympiad. 

meiit. 

P.M. 

After  noon. 

MS. 

Mannscript. 

P.M. 

Post-master. 

]\ISS. 

Manuscripts. 

P.O. 

Post-office. 

Maj. 

IMajor. 

P.P. 

Parish  priest. 

Mass. 

Massachusetts . 

P.S. 

Postscript . 

Mat. 

Matthew. 

]>• 

page. 

Math. 

Mathematics . 

Pa.,  Penn. 

Peimsjdvania . 

Md. 

Maiyland . 

Pari. 

Parliament. 

]yj^  d  1 1  e 

Mademoiselle. 

Pet. 

Peter . 

Me. 

Maine. 

Phil. 

Philippians . 

Mem. 

Memorandum . 

Philom. 

A  lover  of  learn¬ 

Mens.,  Mo.  Month. 

ing. 

Messns. 

Messieurs. 

Pon.  Max. 

Suf)reme  pontiff. 

Miss. 

Mississij)pi. 

Pres. ,  Pres 

President . 

Mme 

Madame. 

Prof. 

Professor . 

Mo. 

Missouri . 

pro.  tem. 

for  a  time. 

Mods. 

Monsieur. 

prox. 

approaching . 

Mr.,  M'- 

Mister. 

Ps. 

Psalm . 

Mrs.,  M” 

Mistress. 

Q. 

Question . 

Mt.,  M‘ 

Mount. 

Q.B. 

Queen’s  bench. 

Mus.D. 

Doctor  of  music. 

Q.E,D. 

Which  was  to  be 

N. 

North. 

demonstrated . 

KA. 

North- America . 

Q.E.F. 

Which  was  to  be 

N.B. 

Mark  well. 

done . 

N.C. 

North-Carolina. 

q.  d. 

as  if  he  should 

KH. 

New-Hampshire . 

say. 

N.J. 

Ne  w- Jersey . 

q.  1. 

as  much  as  you 

N.L. 

North  latitude. 

please . 

N.S. 

New  style. 

q.  V. 

which  see. 

N.T. 

New  Testament. 

K. 

King  or  Queen. 

N.Y. 

New- York. 

R.A. 

Royal  Artillery. 

n. 

note . 

ll.A. 

Royal  Academi¬ 

n.  1. 

it  appears  not. 

cian. 

nem.  con. 

without  dissent. 

E.E. 

Royal  Engineers . 

No.,  N" 

Number. 

R.I. 

Rhode-Island . 

Nov., 

November. 

R.M. 

Royal  Marines. 

0. 

Ohio . 

R.N. 

Royal  Navy. 

o.s. 

Old  style. 

R.R. 

Railroad . 

O.T. 

Old  Testament. 

Reg' 

Register . 

Obt. ,  Ob' 

Obedient. 

Reg' 

Regiment . 

Oct, 

October. 

Rep. 

Representative . 

38  PRINTEll’S  MANUAL  : 


Kev. 

Revelations . 

T.E. 

T  0  p  0  g  r  a  jr  h  i  c 

Rev. 

Reverend . 

engi  neers . 

Eoni. 

Romans. 

Tenn. 

Tennessee . 

Rt.  ilon. 

Right  Plonorahle. 

Tliess. 

Thcssalonians . 

S. 

South . 

Tim. 

Timothy. 

S.A. 

South- America. 

U.C. 

Uppcr-Canada. 

S.B. 

Steamboat . 

U.S. 

ITnited  States. 

s.c. 

South-Carolina. 

U.S.A. 

United  States 

S.L. 

South  latitude. 

Arm}' . 

S.P.Q.R. 

Senate  and  Peojde 
of  Rome. 

U.S.M. 

United  States 
Mail. 

B.T.i). 

Doctor  of  theo- 

• 

U.S.N. 

LTnited  States 
Navy. 

S.T.P. 

Professor  of  theo- 

ult. 

the  last. 

.logy- 

V.D.M. 

Minister  of  God’s 

s.  a. 

without  date. 

W'crd. 

s.  1. 

without  jjlace. 

V. 

see. 

Sam. 

Samuel. 

V-  g- 

as  for  example.' 

scil. ,  ss. 
Sec. 

to  wit. 

Va. 

A^irginia. 

Section. 

viz. 

namely. 

Sec^’ 

Secretary . 

Vol. 

Volume.  . 

Sen. 

Senator. 

vs. 

against . 

sen.,  S'' 

senior . 

W. 

AA^est. 

Sept.,  7'’®'' 

Sejrtemher. 

AVI. 

AA^est-Indies. 

Serg‘ 

Sergeant. 

X‘ 

Christ. 

Serv‘ 

Servant . 

X.nas 

Christmas . 

St. 

Saint,  street. 

4ts 

quarto . 

Snpt. ,  Sup 
Tom. 

‘  Superintendent. 

8vo 

octavo . 

Volume. 

12™“ 

duodecimo . 

ASTRONOMICAL  SIGNS. 

ZODAIC. 

Aries. 

inj  Libra. 

b'  Taurus. 

Tfl  Scorpio . 

'iMi' 

^  Gemini. 

^  Sagittarius. 

@  Cancer. 

^  Capricornus . 

jg#  ^  Leo. 

Acpiarius . 

IV- 

'H|)  Virgo. 

•O 

•o* 

X  Pisces . 

PHRASES  AND  SIGNS. 
SUN  AND  PLANETS. 


39 


@  Sun. 

§  Mercury. 
9  Venus. 

5  Eartli. 
cf  Mars. 

Ceres . 
y  Hebe. 


^  Pallas, 
f  Juno. 

Q  Vesta. 

Q|.  Jupiter, 
■fj,,  Saturn . 

S  Uranus. 
4^  Neptune. 


MOON’S  PHASES. 

@  New  moon.  ©  Full  moon. 

3  First  quarter.  (C  Last  quarter, 

ASPECTS . 

Conjunction.  c?  Opposition,  180° 

^  Sextile,  60°  ^  Asbending  node. 

□  Quadrille,  90°  ^  Descending  node. 

A  Trine,  120° 


ALGEBEAICAL  SIGNS. 


i 

X  X 
oo 

> 

< 


plus, 
minus . 
equal . 

plus  or  minus, 
multiplication . 
difference . 
difference  equal, 
greater  than, 
less  than. 


CO  Do  infinite . 


J"  sum. 

equivalent. 

\/  y/  radicals. 

-j-  division . 

'  ;  arithmetical 

proportion . 
geometrical 
proportion . 

.  • .  therefore . 

because . 


/ 


i 


10 


rUINTELl’^  MANUAL  ; 


GEOMETRICAL  SIGNS. 


11  # 

parallel . 

o 

rhombus . 

not  parallel. 

CZJ 

rhomboid . 

_L 

equality . 

o 

degree . 

J_ 

perpendicular . 

' 

minute . 

z 

angle . 

" 

second . 

A 

triangle . 

ff, 

third . 

L 

right  angle. 

fourth . 

equiangular . 

o 

foot. 

> 

sector . 

prime  or  inch 

□  ° 

square . 

a. 

twelfth . 

O 

circle . 

m 

third . 

concentric . 

iiii 

fourth. 

MEDICAL 

QJ.  TH:  Take, 
ft)  pound . 

2  ounce . 

3  dradim . 

ROMAN  NUMERALS. 


number. 

I. 

n. 

III. 

IV. 


VI. 

VII. 

VIII. 


VALUE. 

1 

2 

3 

4 
f) 

6 

7 

8 


number. 

IX. 

X. 

XL 

XII. 

XIII. 

XIV. 

XV. 

XVI. 


9 

10 

11 

12 

13 

14 
1.5 
13 


PIIllASES  AND  SIGNS 


41 


NUMBER. 

V  A  L  U  ] 

XVII. 

17 

XVIII. 

18 

XIX. 

19 

XX. 

20 

XXV. 

25 

XXX. 

30 

XXXV. 

35 

XL. 

40 

XLV. 

45 

L. 

50 

LV. 

55 

LX. 

60 

LXV. 

65 

LXX. 

70 

LXXV. 

75 

LXXX. 

80 

LXXXV. 

85 

LXL. 

90 

XC. 

90 

XCV. 

95 

C. 

100 

CL. 

150 

CC. 

200 

CCL. 

250 

CCC. 

300 

CCCL. 

350 

CCCC. 

400 

CD. 

400 

CDL. 

450 

D. 

500 

10. 

500 

DC. 

600 

IOC. 

600 

DCC. 

700 

lOCC. 

700 

DCCC. 

800 

lOCCC. 

800 

CCM. 

800 

CC  00. 

800 

DCCCC. 

900 

jpcccc. 

900 

4 


NUMBER.  VALUE 


CM. 

900 

c  00. 

900 

M. 

1,000 

CIO. 

1,000 

00. 

1,000 

1,000 

T 

1,000 

MM. 

2,000 

CIOCIO. 

2,000 

IICIO. 

2,000 

00  00, 

2,000 

MMM. 

3,000 

.CIOCIOCIO. 

3,000 

IIICIO. 

3,000 

00  00  00. 

3,000 

MMMM. 

4,000 

MIOO. 

4,000 

CIOIOO. 

4,000 

OOIOO. 

4,000 

DO. 

5,000 

100. 

5,000 

V  CO. 

5,000 

TT 

5,000 

CCIOO. 

10,000 

OMC. 

10,000 

IMI. 

10,000 

XM. 

10,000 

xco. 

10,000 

IT. 

10,000 

DOO. 

50,000 

1000. 

50,000 

50,000 

CCCIOOO. 

100,000 

100,000 

100,000 

DOOO. 

500,000 

10000. 

500,000 

500,000 

CCCCIOOOO. 

1,000,000 

CCIOOCCIOO. 

1,000,000 

iL 

1,000,000 

42 


I'KINTER’S  MANUAL  : 


“  Tlie  roman  signs ,  for  nunrbers ,  have  arisen  from  sim- 
jDle  geometrical  figures.  The  perjDendicular  line  (  |  )  is 
one ;  two  lines  across  one  another  (  X  )  make  ten ;  half 
this  figure  (  V  )  five;  the  jJei’tDendicular  line,  with  a 
horizontal  one  at  the  lower  end ,  (  L  )  fifty  >  anfi  when 
another  horizontal  line  is  added,  at  the  upper  end  (  [^  ), 
M'e  have  one  hundred.  From  this  sign  arose  the  round  c, 
which  is  accidentally,  at  the  same  time,  the  initial  of  cen¬ 
tum.  This  c  reversed  (o),  which  is  called  apostrophus, 
wdth  a  perpendicular  line  preceding  it  (  lo  ),  or  drawn  to¬ 
gether,  as  D,  signifies  five  hundred.  In  every  multiplication 
with  ten  a  fresh  apostrophus  is  added:  thus,  ioo  =  5000, 
1000  =  50,000.  When  a  numher  is  to  he  doubled,  as  many 
c  are  put  before  the  horizontal  lii:e  as  there  are  o  behind 
it:  thus,  CIO  =1000,  ccioo  =  10,000,  etc.  A  thousand  is 
expressed,  in  manuscripts,  liy  CO,  which  is  evident!}^  a 
contraction  of  cio.  m.,  which  is  used  for  the  same  num¬ 
ber,  is  the  initial  of  mi/Ie.”  [  Zimpt. 

When  a  dash  is  drawn  over  any  number,  it  shows  that 
the  number  so  designated  is  multiplied  one  thousand  times. 

The  lower-case  letters  are  sometimes  used,  instead  of 
the  capitals,  as  numerals;  for  instance,  when  c[uotations  are 
made  from  the  bible,  the  chapters  are  indicated  by  lovver- 
case  roman  numerals  and  the  verses  by  arabic  figures. 

They  are  also  used  for  folios  in  the  prefatory  matter  of 
books,  to  distinguish  that  part  from  the  regular  subject. 

In  medical  works,  the  (juantities,  in  the  formula?,  are 
always  set  in  lower-case  letters,  with  this  difference:  if  the 
numlier  end  with  an  i.  a  j.  is  always  used  in  its  place:  as, 
viij.  instead  of  viii.,  xj.  instead  of  xi.,  etc. 

\s,^OMMERCIAL  ABBREVIATIONS. 

@  to .  b°‘  bought . 

ac. ,  acet.  account.  brh,  bbl.  barrels. 

“C  account  current,  brot.  brought, 

vigt. ,  Ag‘  Agent.  bin,  bush,  bushels. 

&  and.  bxs. ,  b»°  boxes. 

.at  .1  m.  at  .3  months’  date,  cld.,  cB  cle.ared. 

!)«“’'  bales.  tlo.  (lompany. 


PHRASES  AND  SIGNS.  43 


Cr.,  O'- 

Creditor . 

£  s.  d. 

Pound  sterling 

(|?,  ct.,  cts. 
cwt. 

cent,  cents, 
hundred  weight. 

ft).,  ft)S. 

shilling,  pence 
pound ,  pounds . 

fljd'e 

dai's’  date . 

M. 

thousand . 

l)r. ,  D" 

Debtor . 

mdz.,md‘^® 

■  merchandize . 

dft. 

draft . 

mkt. 

market . 

disg. 

discharging . 

mo.,  mos. 

month,  months. 

S,  dol.,  dols.  dollar ,  dollars . 

+  ,  No. 

Number . 

do. 

ditto . 

ord. 

order . 

doz. 

dozen . 

oz. 

ounce . 

ds. 

days . 

? 

per. 

d  st. 

day’s  sight.  ' 

pble. 

payable . 

duji® 

duplicate . 

“1“,  p.  ct. 
pks. ,  p'“ 
Rec'* 

per  cent. 

exch° 

exchange . 

packages . 

ele 

errors  excepted. 

Received. 

fm. 

from. 

Recp‘ 

Receipt . 

gall. 

gallon . 

sld. ,  sN 

sailed . 

h|. 

his  account. 

t|a 

their  account. 

hhd. 

hogshead . 

tees 

tierces . 

Int. 

Interest . 

wt. 

weight . 

Idg. 

loading . 

yd. 

yard. 

ACCENTS,  ETC. 


tji 

Asterisk . 

N  fi 

Spanish  n . 

t 

Dagger . 

f 

Averse . 

Double-dagger . 

It 

Response . 

tl 

Parallel . 

a  bedef 

Superior  letters . 

5 

Section . 

1234567890 

Superior  figures . 

IT 

Paragraph . 

/'2  K  34  K  Diagonal  frac 

(k!r 

Index . 

tions . 

del 

6 

11 

Acute  accents. 

1111 

2  3  4  8 

Horizontal  frac 

a  d  i 

6 

u 

GriiYe  accents . 

tions . 

e  i 

6 

u 

Circumflex  accents. 

2348 

■^348  ^ 

Piece  fractions . 

a  c  1 

0 

u 

Dia’.reses . 

Canceled  figures . 

a  e  1 

0 

11 

Long  vowels. 

a  jj 

Quotation  marks. 

a  e  i 

0 

11 

Short  vowels. 

(  ) 

Parentheses . 

Q  9 

French  c . 

[  ] 

Brackets . 

I’KINTKR’S  MANUAL  . 


4i 


ELISIONS. 


altlio’, 

although . 

shouldn’t,  should  not. 

an’t, 

am  not,  are  not. 

t’. 

to. 

can’t, 

can  not. 

th’. 

the . 

couldn’t , 

could  not. 

that’s , 

that  is. 

’d, 

had,  -would. 

there’s , 
they’d , 

there  is. 

d’, 

don’t , 

do . 

does  not,  do  not. 

they  had ,  the}’ 
would . 

d’ye, 

do  you 

they’re , 

they  are . 

’em. 

them . 

they’ve , 

they  have. 

e’en, 

even . 

tho’. 

though . 

e’er , 

ever . 

thou’dst. 

thou  wouldst. 

gi’me , 

give  me. 

thou’ It, 

thou  wilt. 

lia’. 

have . 

thou’rt , 

thou  ai't. 

hadn’t , 
haven’t. 

had  not. 

thou’st , 

thou  wast. 

have  not. 

thro’, 

through . 

he’d , 

ho  had,  he  would. 

’tis. 

it  is. 

here’s , 

here  is. 

to’t. 

to  it. 

in’t. 

in  it. 

t’other. 

the  other. 

I’d, 

I  had,  I  would. 

t’th’,  t’the,  to  the. 

I’ll, 

I  will. 

’twas. 

it  was. 

I’m , 

I  am. 

’twere. 

it  were. 

isn’t, 
i’tlie , 

is  not. 

’twill. 

it  will. 

in  the. 

upon’t , 

upon  it. 

it’s. 

it  is. 

wasn’t , 

was  not. 

I’ve, 

I  have. 

was’t. 

was  it. 

let’em , 

let  them. 

we’d , 

we  had,  we  would. 

let’s , 

let  us. 

we’re , 

we  are. 

mayn’t. 

maj^  not. 

wer’n’t. 

we  are  not. 

mightn’t. 

might  not. 

we’ve. 

we  have. 

ne’er. 

never . 

w’ch , 

which . 

n’t. 

not. 

what’s , 

what  is. 

o’er. 

over. 

wher’s , 

where  is. 

on’t. 

of  it,  on  it. 

who’s , 

who  is. 

o’th’. 

of  tlie,  on  the. 

won’t, 
wouldn’t , 

will  not. 

oughtn’t. 

ought  not." 

would  not. 

’re , 

are . 

you’d , 

you  had ,  you  ^\■ould . 

’rt. 

art. 

j’ou’re , 

you  are. 

shan’t. 

shall  not. 

you’ve , 

you  have. 

she’s, 

she  is. 

y’r, 

your . 

MATEEIAL. 


Under  this  heading  it  is  proposed  to  treat  of  the  Types, 
Eules,  Leads,  Quotations,  Furniture,  and  other  material 
belonging  to  the  composing-room. 


THE  TYPES. 


METAL. 

The  idea  which  some  printers  have,  that  the  harder 
the  metal  is  the  better  the  types  will  he,  is  erroneous.  If 
it  he  made  over  a  certain  degree  of  hardness,  the  hairlines 
will  crumhlc,  under  the  impression  to  which  they  are  gen¬ 
erally  subjected  at  the  printing-press.  The  metal  used  hy 
the  French  is  very  little  harder  than  that  used  for  joh- 
types  in  this  country ;  yet  the  types  made  from  it  will , 
if  well  used,  last  as  long,  without  being  liable  to  these 
objections . 

Printers,  generally,  put  too  much  impression  on  their 
types,  when  first  used,  and,  by  this  means,  they  become 
injured  in  such  a  manner  that  each  time  they  .are  required 
to  be  used  afterward,  the  impression  must  be  made  heavier, 
so  that  by  the  time  fifteen  or  twenty  jobs  are  done  the 
types  are  not  worth  more  than  the  price  of  old  metal . 
And ,  when  they  are  thus  worn  out  —  say ,  by  four  or  five 
months’  bad  usage — -the  fault  is  laid  at  the  door  of  the 
type-founder,  when,  in  fact,  it  is  caused  by  their  own 
negligence  or  ignorance. 


SIZES. 

In  France  the  sizes  of  types  are  regulated  by  law,  pica 
(cictro)  being  the  size  to  which  all  others  conform.  Thej' 
make  250  lines  pica  equal  to  a  metre,  (39. .381  inches). 
The  pica  is  divided  into  12  parts,  which  they  denominate 


4G 


r  HINT  Ell’S  MANUAL  : 


points;  and  all  the  other  sizes  are  made  to  correspond  M-illi 
a  specilied  number  of  these  points,  as  may  be  seen  by  the 
following  table  :  "  _ 


Diamant , 

(half  Nonpareil) 

3  points,  or 

1  millimetre. 

Perie , 

(  half  Brevier) 

4 

ijf 

Parisienne , 

(half  Long  Primer) 

5 

1,-i 

tt 

Nonparcille , 

( Nonpareil ) 

0 

U  (( 

2 

tt 

Mignonne , 

(  Minion  ) 

7 

((  U 

l*etit  Texte, 

( Brevier) 

8 

£-. 

ii 

Gaillarde , 

( Bourgeois ) 

9 

u  a 

3'^ 

u 

Petit  llomain , 

(  Lung  Primer) 

10 

a  u 

Philosophic , 

(Small  Pica) 

n 

u  u 

373 

it 

Cicero  , 

(Pica) 

13 

u  a 

4 

i' 

Saiiit-Augustin 

,  (English) 

14 

(( 

it 

Gros  Texte , 

(2-Une  Brevier) 

11)  ■ 

((  (( 

Gros  K'lmain , 

(Great  Piimcr) 

18 

(( 

0  ■ 

it 

I’etit  Parangon 

,  (  Paragon ) 

£0 

u  u 

‘i 

Gros  Parangon 

,  (2-iine  Small  Pica) 

£2 

n  u 

ti 

Palestine , 

(2-  Pica) 

£4 

u  u 

(t 

Petit  Canon , 

(2-  “  English) 

£8 

>.(,  u 

Tj' 

(t 

Trismegiste , 

(3-  I’ica) 

30 

((  (; 

12 

Gros  Canon  , 

(4-  “  Small  Pica) 

44 

((  u 

it 

Double  Canon , 

(4-  “  En-lish) 

50 

((  It 

le?! 

4il 

Triple  Canon  , 

(G-  “  Pica) 

£4 

The  following  list  coinjaises 

the 

sizes  of  types 

cast  in 

5  country. 

It  was  the  intention. 

in  giving  it. 

to  j.lace 

opposite  to  the  names  the  number  of  m  contained  in  a  foot 
of  each ;  but  the  standards  of  the  foundries  vary  so  much 
from  each  other  that  it  would  be  of  no  practical  utility. 


Diamond , 
Dearl , 

A  "ate , 
Nonpareil , 
Minion  , 
Brevier , 


Bourgeois , 
Long  Primer, 
Small  Pica, 
Pica , 

English , 
y-liiie  Brevier, 


Great  Primer, 
Paragon  , 

2-lii;e  Small  Pica, 
2-line  Pica , 

2-line  English , 
4-linc  Brevier , 


2- line  Great  Primer, 

3- line  Pica, 

Double  Pamgon  , 

4- line  Small  IMca, 
4-line  Pica . 


The  sizes  above  4-line  (canon)  increase,  by  1-m  pica, 
until  they  reach  10-line,  and  by  2-m  up  to  20-line;  after 
which  the  sizes  are  sometimes  augmented  by  4-m,  at  others, 
l)y  6-m ,  (that  is,  by  the  inch),  until  they  reach  any  size 
which  may  be  recpiired. 

The  greater  number  of  the  above  sizes  are  called  by 
two  names,  which  depend  on  the  faces  altogether,  and  not 
on  a  variation  in  the  sizes  of  the  bodies,  as  many  printers 
suppose  ;  ■  for  instance:  pica  and  2-line  nonpareil  are,  gene¬ 
rally,  cast  in  the  same  mould;  but  the  face  of  the  former 
does  not  fill  the  body  by  the  amount  of  space  occujiied  by 


MATERIAL. 


47 


the  descending  parts  of  the  lower-case  g,  j,  p,  q,  y,  and 
the  semicolon,  while  that  of  the  latter  fills  the  body,  be¬ 
cause,  having  no  lower-case  cast  to  it,  there  are  no  sorts 
wliich  hang  below  the  hairlines,  with  the  exception  of  the 
Q,  the  semicolon,  and  the  comma. 

As  a  general  thing,  the  faces  of  job-types  are  cast  so 
as  to  fill  the  body,  and,  consequently,  come  under  the 
class  denominated  two-line  letters.  If  they  were  cast  with 
the  common-sized  faces,  the  printer  would  have  to  pay  fulh' 
one-fourth  more  than  he  does  at  present,  on  account  of 
■^e  weight  of  the  sujDerfluous  metal. 

The  ■  j>lain  two-line  letters  are  generally  used  in  title- 
pages,  and  work  of  that  character.  To  each  size. there  are 
three  faces  cast;  the  condensed,  the  regular,  and  the  ex¬ 
tended;  which  no  printing-office  should  be  without,  because, 
in  work  of  the  above  description ,  each  shape  and  size  will , 
at  one  time  or  another,  be  found  useful. 

The  following  is  a  list  of  the  names  of  the  two-line 
letters,  together  with  the  sizes  to  which  they  correspond  : 


j  S-liiie  .Diamond 
\  2-  “  Pearl 

2-  Agate 

2“  Nonpareil 

2-  “  Minion 

2-  “  Brevier 

«»,  2-  ‘‘  Bourgeois 

y  2-  “  Long  Prin 


=  Bourgeois . 

=  Long  Primer. 
=  Small  Pica. 

=  Pica . 

=  English . 

=  2-line  Brevier. 
=  Great  Primer. 
=  Paragon . 


Above  paragon  both  lists  con-espond  in  name,  with  tlie  ex¬ 
ception  of  double  paragon,  which  is  called  by  that  name 
when  a  lower-case  is  cast  to  it ;  but ,  when  the  face  fills 
the  body  it  is  called  4-line  long  primer. 

It  would  be  a  great  convenience  to  jDrinters  were  the 
above  sizes  regulated  by  some  standard,  in  which  each 
would  contain  a  certain  number  of  m  to  the  foot,  beside 
coinciding  with  each  other  at  certain  intervals.  This  would 
save  a  great  amount  of  time  and  labor  in  the  composition 
of  mathematical,  or  anj^  other  description  of  work,  which 
requires  the  justification  of  two  or  more  sizes  of  types  in 
the  same  line. 

It  is  often  found  that,  if  a  row  of  capitals  or  figures  be 
run  down  by  the  side  of  a  corresponding  number  of  lines 
of  lower-case  types,  a  considerable  variation  will  be  found 
to  exist  between  them.  This  is  particularly  fatal  in  tables. 


48 


PRINTER’S  MANUAL 


because  it  entirely  prevents  that  accuracj'  so  requisite  to 
justification.  Yet,  there  is  much  to  he  alleged  in  extenua¬ 
tion  of  this  fault:  for  even  ■were  the  apparatus  perfect,  a 
change  of  the  dresser  of  the  fount,  or,  if  confined  to  one, 
the  variation  of  his  hand,  hearing  sometimes  heavier  or 
lighter  on  his  scraping-knife,  "would  still  make  a  great  dif¬ 
ference  in  a  munher  of  lines.  The  variation  in  the  density 
of  the  metal,  the  force  with  which  it  is  thrown  into  the 
mould,  and  even  the  unequal  amounts  of  metal  in  sorts 
of  the  same  fount  —  varying,  as  they  do,  from  a  6-m  space 
to  a  3-m  quad  —  have,  more  or  less,  an  effect  on  the  types, 
and  cause  them,  in  cooling,  to  contract  rmequally. 

PROPORTION 

Of  each  sort  in  a  400-pound  fount  of  types,  in  jiounds  and 
ounces  : 


A  , 

o 

0 

A  , 

0 

12 

a, 

18 

0 

1, 

1 

8 

JD=0 

8 

1 

8 

B  , 

0 

8 

5 

0 

2 

1 

8 

&,  0 

8 

c, 

2 

0 

C  , 

0 

8 

c » 

8 

(» 

1 

8 

& ,  0 

4 

o, 

1 

8 

I)  , 

0 

8 

12 

0 

4, 

1 

8 

ff,  1 

U 

E  , 

o 

8 

» 

] 

0 

e. 

28 

0 

5  , 

1 

8 

fl,  1 

8 

F, 

1 

8 

r , 

0 

8 

f. 

4 

0 

<3, 

1 

0 

ill,  1 

0 

0  1 

1 

8 

u , 

0 

8 

5 

8 

7 , 

1 

0 

11,  1 

0 

11 , 

1 

8 

II , 

u 

8 

16 

0 

8, 

1 

0 

Cl,  1 

0 

1  , 

1 

8 

I , 

0 

8 

i , 

12 

0 

1 

0 

Il.lSHES 

J  , 

1 

0 

j , 

0 

4 

J  9 

1 

0 

2 

0 

n  ,  0  12 

K  , 

1 

0 

K , 

0 

4 

k, 

o 

0 

0 

4 

m,  1 

0 

L, 

1 

8 

0 

8 

1 , 

7 

0 

0 

4 

2-m,  1 

0 

M, 

2 

0 

M  , 

0 

12 

in 

12 

0 

z"'  ^ 

0 

4 

3-m,  1 

N  ! 

o 

0 

N  » 

u 

12 

11 

20 

0 

0 

3 

4-ra,  1 

0 

0, 

2 

0 

O  , 

0 

12 

0 

18 

0 

~3 

0 

3 

BHACES 

P, 

1 

8 

1’, 

0 

8 

V  1 

0 

0 

1  ' 
ya 

0 

3 

2-m,  0 

4 

Q, 

0 

8 

0 

4 

1 

8 

2 

yH  'I 

0 

3 

3- in,  0 

4 

R. 

o 

0 

0 

12 

r , 

14 

0 

0 

3 

4-m,  1) 

4 

s , 

o 

0 

s , 

0 

12 

s , 

14 

0 

u 

3 

0 

4 

'r, 

2 

0 

T, 

0 

12 

t, 

10 

0 

@  1 

0 

4 

0 

4 

1 

8 

U  , 

0 

8 

10 

0 

, 

0 

3 

n 

4 

v. 

1 

0 

V , 

(1 

0 

Y  , 

4 

u 

ft, 

0 

3 

Ql'ADS 

'V 

2 

0 

0 

8 

W  , 

7 

0 

S, 

0 

4 

n  8 

0 

N  , 

0 

12 

X  , 

0 

4 

X  , 

2 

0 

0 

o 

m ,  G 

0 

Y  , 

1 

8 

Y  , 

0 

8 

y  ? 

5 

0 

] 

u 

8 

2-m,  10 

0 

z. 

0 

8 

0 

4 

Z  ) 

1 

0 

* 

0 

4 

3-m,  10 

u 

.E, 

0 

4 

it  , 

0 

4 

fe , 

U 

4 

t 

u 

4 

SPAI-fcS 

(E, 

0 

4 

CE, 

0 

4 

CE  , 

0 

4 

t 

0 

4 

3-m,  24 

0 

,1 

5 

0 

3 

0 

J 

0 

8 

11 

0 

4 

4-m,  8 

u 

1 

0 

- 

2 

8 

? 

0 

8 

§ 

0 

4 

5-m,  4 

0 

0 

12 

’1 

1 

0 

0 

8 

It 

u 

4 

G-m,  1 

0 

In  founts  of  any  other  weight  the  sorts  are  cast  in  the 
same  proportion . 


MATERIAL. 


49 


FACE. 

When  a  printer  wishes  to  select  a  nnmber  of  sizes  of 
types,  his  first  consideration  should  be  given  to  the  face; 
because  there  are  so  many  different  faces  cast  on  the  same 
size  of  body,  that,  if  he  be  not  careful  in  his  selection,  he 
may  get  two  sizes  of  letter  which  will  not  have  any  per¬ 
ceptible  difference,  in  face,  when  printed.  The  only  way 
to  obviate  this  would  be,  in  ordering  types,  to  make  the 
selection  out  of  one  series.  By  doing  this,  all  the  sizes 
ivill  bear  a  relative  proportion  to  each  other — faces  as  well 
as  bodies  —  and  will,  when  two  or  more  sizes  are  used  in 
the  same  work,  have  a  far  better  appearance  than  they 
would  have,  were  one  of  them  a  heavy  and  the  other  a 
light  face. 

NICKS. 

In  selecting  types,  attention  should  be  paid  to  the  nicks 
as  well  as  to  the  faces ;  so  that  no  two  sizes  next  to  each 
other  would  have  their  nicks  so  much  alike  that  the  differ¬ 
ence  could  not  be  distinguished  at  a  glance.  This  is  a  thing 
which  is  generally  overlooked  by  proprietors,  and  the  con¬ 
sequence  is,  that,  in  almost  every  office,  the  various  founts 
are  more  or  less  mixed. 

The  nicks  should  be  deep,  so  that  the  eye  could  catch 
sight  of  them  quickly,  and  a  single  nick  should  not  be 
cast  on  pica  or  any  smaller  size;  because,  when  types  are 
small  the  nicks  are  made  in  proportion,  and,  consequently, 
they  are  more  liable  to  be  turned  when  being  put  in  the 
composing-stick . 

It  would  save  printers  a  great  amount  of  trouble  were 
the  small  capitals  cast  with  a  nick  differing,  in  appearance, 
from  that  on  the  lower-case  letters,  for,  if  any  part  of  the 
fount  should  happen  to  get  pied,  it  would  be  almost  impos¬ 
sible  to  separate  such  sorts  as :  o ,  s ,  v,  w,  x ,  and  z ,  on 
account  of  their  similarity  in  appearance. 

RIGHT  TO  PAPER. 

The  hight  to  paper  should  be  particularly  attended  to. 
The  best  mode  of  ascertaining  whether  each  letter  be  of 
right  hight  is,  to  take  a  composing-stick  and  make  it  up 
so  as  to  hold  ten  lowdr-case  nl  endways;  after  whiclrtry 

5 


50 


r  11 1 N  T  E  K  ’  S  MANUAL  : 


all  the  sorts  in  the  fount,  and,  if  any  material  variation 
should  be  found  to  exist  between  them  and  the  m,  the 
sorts  so  varying  should  be  recast. 


LINING. 


To  find  whether  the  types  line  or  not :  take  a  loiver- 
case  m ,  and  sec  if  its  hairlines  are  even  with  the  hairlines 
t)n  the  other  lower-case  sorts  of  the  fount.  Then  see  if 
its  lower  hairlines  are  even  with  the  corresponding  strokes 
on  the  cajjital  M,  and,  if  they  are,  ascertain  whether  the 
capitals  and  small  capfitals  line,  at  the  bottom,  with  the 
last-mentioned  letter. 

WEIGHT. 


/ 


If  persons  should  wish  to  find  out,  at  any  time,  what 
weight  of  types  it  would  recjuire  to  compose  a  certain  sized 
form  of  a  newspaper  or  number  of  jiages  of  a  book,  all 
they  have  to  do  is,  to  ascertain  the  number  of  square  inches 
in  the  page  or  pages ;  then  to  divide  that  number  by  3 , 
and  the  quotient  will  be  the  number  of  pounds  required. 
Tor  instance :  suppose  a  printer  desires  to  find  out  what 
would  be  the  -weight  of  a  fount  necessary  to  compose  36 
pages,  3^  inches  wide  and  6  inches  long  : 


(> 

Vi 

18 

3 

s;i 


21 

_ ^ 

126 

63 

3)756 

252  pounds. 


This  calculation  will  vary,  slightly,  with  the  weight  of 
the  fount  and  the  size  of  the  types :  small  founts ,  weighing 
less  than  KX)  pounds,  leaving  more  sorts  in  case,  in  jjro- 
jiortion  to  their  weights,  than  large  ones;  and  the  sizes  of 
types  under  bourgeois  weighing  more  to  the  square  inch 
than  those  above  that  size. 


BRASS  RULE. 

Brass  rule  is  now  cut,  by  type-founders,  into  combina¬ 
tion  series,  in  such  a  manner  that,  if  a  printer,  when  he 
fii'st  commences  business,  would  get  a  good  fount  of  it,  he 


M  ATI:  RIAL.  51 

could  obviate  the  necessity  of  cutting  rule  for  almost  every 
job  or  table  which  he  might  have  to  set  up  thereafter. 

The  rules  are  cut  to  sizes,  varying  by  nonpareil,  from 
1-m  to  12-m  pica,  and  above  the  latter  size  they  are  cut 
to  pica  sizes,  up  to  50-m. 

With  a  set  of  rules  of  this  descrijition  all  kinds  of  rule- 
work  may  be  done  without  the  use  of  file  or  shears.  This 
is  of  great  advantage  to  emiiloyers ;  because ,  apart  from  the 
waste  of  material  in  such  cases,  there  is  hardly  one  person 
out  of  ten,  working  at  the  trade,  who  is  capable  of  cutting 
a  piece  of  rule  correctly. 

If  a  jwinter  should  not  wish  to  go  to  the  expense  of 
getting  all  the  sizes  mentioned  above,  let  him  have  his 
rules  cut,  to  nonpareil  m,  from  1-m  to  13-m  pica,  inclu¬ 
sive,  and  have  two  other  sizes  cut,  15-m  and  20-m  pica, 
ill  addition  to  these,  and  he  can,  by  using  one,  two,  or 
three  pieces,  as  the  case  may  require,  make  any  length, 
up  to  50-m  pica;  as  may  be  seen  by  the  following  table  : 


M 


The  plain  rules,  of  this  series,  should  be  6  to  pica,  as 
the  No.  1  is  apt  to  get  bent  by  the  least  misusage ;  and, 
ivheii  this  once  happens,  it  can  hardly  ever  be  brought  to 
its  proper  jiosition. 


Sizes.  — 4,  7,  9.  13,  15,  and  20. 


11 

12 

13 

14 

15 

16 

17 

18 

19 

20 

7 

4 

13 

7 

15 

9 

13 

9 

15 

20 

4 

4 

7 

7 

4 

9 

4 

4 

21- 

22 

£3 

24 

25 

20 

27 

28 

29 

30 

7 

15 

15 

20 

9 

13 

20 

15 

20 

15 

7 

7 

4 

4 

9 

13 

7 

13 

9 

15 

7 

4 

7 

31 

32 

33 

34 

35 

36 

37 

38 

39 

40 

20 

15 

20 

15 

20 

20 

15 

20 

15 

20 

7 

13 

13 

15 

15 

9 

15 

9 

15 

20 

4 

4 

4 

7 

7 

0 

9 

41 

42 

43 

44 

45 

46 

47 

48 

49 

50 

15 

20 

15 

20 

15 

20 

20 

20 

20 

20 

13 

15 

15 

20 

15 

13 

20 

15 

20 

15 

13 

7 

13 

4 

15 

13 

7 

13 

9 

15 

1>  KIN  TEH’S  MANUAE  ; 


52 

The  tj’pe-foundcrs  send,  ■with  their  labor-saving  rules, 
mitred  corners  to  correspond  with  the  double  rules  ■which 
arc  generally  a  jiart  of  the  combination  series;  but  as,  in 
using  them,  it  is  always  necessary  to  take  three  or  more 
pieces  to  form  each  rule,  and  as  one  of  the  lines  on  the 
rule  having  a  heavy  face,  the  joinings  will  show,  more  or 
less,  it  would  be  better  for  the  printer  to  get  all  his  rules, 
with  the  exception  of  the  single  rule,  of  the  length  made 
at  foundry,  and,  with  the  help  of  a  mitering-machine,  cut 
them  as  wanted. 

Above  the  thickness  of  long  primer,  the  rules  are  gen¬ 
erally  made  of  type-metal,  and  arc  cut  with  a  great  variety 
of  styles  of  face ;  but ,  as  tliey  wear  out  very  soon ,  they 
should  not  be  used  on  jobs  of  which  large  numbers  are 
worked ;  neither  should  they  be  printed  in  the  same  form 
with  large  types,  on  account  of  the  extra  impression  which 
they  would  be  subject  to,  thereby  wearing  them  out  by  the 
time  a  few  hundred  coihes  are  worked. 

THE  MITERING  - MACHINE. 

Is  a  semicircular  plate  of  cast-iron,  at  the  base  of  which 
rises  a  flange  perpendicular  to  its  iflane.  In  the  centre  of 
this  flange  the  cutter  works  in  a  groove,  and  is  moved  by 
a  levpr  of  sufficient  power  to  cut  rules  or  borders.  At  the 
centre  of  the  circle,  of  which  the  semicircle  is  a  part,  one 
end  of  the  guide  is  fastened,  by  a  pin  running  through 
the  plate  and  bolted  on  tlie  lower  side ;  the  other  end  of 
it  being  movable,  an 3*  reqimed  angle  ma}'  be  obtained,  as 
will  be  shown  hereafter. 

As  there  are  but  two  marks  on  the  machine  —  one  for 
trimming  the  rules  square  and  the  other  for  mitering  rules 
so  as  to  form  a  square  —  it  will  be  necessar}'  to  give  direc¬ 
tions  so  that  an}'  otlier  angles  mai'  be  cut. 

Suppose  it  be  required  to  mitre  the  rules  for  a  triangle : 
that  is,  to  cut  three  rules  with  a  bevel  of  30°  on  both 
ends  of  each .  Take  a  protractor  —  the  semicircular  plate , 
in  a  case  of  drawing-instruments ,  marked  with  degrees  — 
and  put  its  straight  edge  against  the  face  of  the  cutter,  the 
guide  being  at  the  mark  for  the  jierpendicular ;  move  the 
jirotractor  cither  ivay  until  90°  is  over  one  of  the  edges 
of  the  guide,  and,  holding  the  ^M'otractor  in  this  position. 


MATERIAL. 


move  the  guide  down  until  30°  coincides  with  the  same 
edge;  then  fasten  the  movable  stop,  in  the  semicircular 
groove,  so  that  the  guide  cannot  be  moved  any  further  in 
that  direction.  Bring  the  guide  again  to  the  perpendicular, 
and  proceed  in  getting  30°,  on  the  other  side,  in  the  same 
manner . 

If  the  rules  be  thicker  than  No.  2,  they  should  be  cut 
with  a  saw,  somewhat  longer  than  the  measure,  and  then 
trimmed  to  the  exact  length  outside  the  mitre .  Having 
done  this ,  fasten  the  gauge ,  which  is  movable  on  the  guide , 
to  the  length  of  the  rule ,  and  proceed  with  the  mitering ; 
cutting  the  opposite  ends  of  the  rules  on  the  corresponding 
sides  of  the  guide. 

Proceed,  in  the  same  manner,  in  getting  any  other  angle 
in  the  following  list  : 

3  sides,  30  dej.  8  sides,  67 deg.  12  sides,  75  deg. 

4  “  45  “  9  “  70  “  18  “  80  “ 

e  “  GO  “  10  “  72  “  24  “  82K  “ 


/  The  angles:  30°,  45°,  and  67^°,  are  generally  used  for 
/  mitering  rules;  and  the  others,  for  mitering  borders,  so  as 
Y  to  make  circles  of  different  sizes. 

It  is  often  necessary  to  mitre  four  rules,  so  that  when 
they  are  joined,  they  will  have  the  form  of  a  lozenge. 
This  can  be  easily  done  by  bearing  in  mind  the  fact,  that 
in  a  4-sided  figure,  both  the  mitres,  on  each  rule,  must  be 
equal  to  90°.  In  the  square  they  are  equal,  each  being 
45°;  but,  in  any  other  4-sided  figure,  one  must  be  as  many 
degrees  above  45  as  the  other  is  below.  In  cutting  rules 
for  a  figure  of  this  shape  it  must  be  borne  in  mind  that 
rules  parallel  to  each  other  must  be  cut  on  the  same  side 
of  the  guide.  The  following  will  make  the  most  useful 
shapes :  30°  and  60°,  and  22^°  and  67^°. 


SPACE-EULES. 

In  every  printing-office,  where  any  amount  of  table¬ 
work  is  done,  there  should  be,  to  each  size  of  letter  below 
pica,  a  complete  set  of  space-rules;  because,  in  the  com¬ 
position  of  the  kind  of  work  above-mentioned,  these  rules 
will  look  better,  in  the  headings,  than  2-m  or  3-m  dashes. 
Beside  this,  they  may  be  used,  with  advantage,  between 


54 


PRINTER’S  MANUAL  : 


the  columns  of  figures,  ivhen  these  columns  are  short,  as 
in  the  table  on  jiage  51,  where,  if  brass  rules  had  been 
used,  it  Mould  have  taken  three  or  four  hours  to  cut  and 
iile  them  so  that  thej’  would  fit  as  correctly  as  the  siiacc- 
rules  do. 

All  space-rules  are,  or  should  be,  of  the  same  thick¬ 
ness,  five  to  idea,  or,  ivhich  is  the  same  thing,  half  pearl; 
and,  consccpiently ,  any  desired  length  may  be  made:  as, 
for  in.stance,  if  it  be  found  that  2-m  pica  is  too  long  for  a 
given  measure,  a  pica  and  a  small  pica  may  be  used;  or, 
if  it  be  too  short,  a  3-m  nonjiareil  and  a  1-m  minion.  In 
the  same  manner  any  -width  -whatever  can  be  made,  without 
cutting  the  rules. 


LEADS. 


Leads  are  cast:  4,  5,  6,  8,  and  10  to  pica;  but,  in  a 
printing-office  where  job-work  is  done,  it  -would  be  ivell  to 
have  but  one  thickness,  and  that  ivliich  has  been  found  to 
be  the  most  useful  is,  G  to  pica.  If  two  thicknesses  should 
be  purchased,  they  can  not  be  used  in  a  job  the  ividth  of 
both  measures,  and,  consequently,  their  usefulness  ivill  be 
greatly  diminished . 

The  following  are  the  measures  generally  used  for  job- 
M'ork  : 


j  Bank  Post,  50  m .  Cap,  38  m .  Note,  £2  m. 

Post,  42  m.  Letter,  30  m  .  Common  Canl,  19  m. 

It  will  often  be  necessary  to  set  np  a  job  differing  in 
Vidth  from  any  of  the  foregoing,  on  account  of  borders 
being  used,  or  the  person  ordering  such  -work  -vvishing  the 
measure  made  ivider  or  naiToiver.  For  such  cases,  instead 
of  cutting  down  regular  leads  to  the  size  required,  it  ivould 
bo  better  to  have  six  lengths  :  4-,  7-,  9-,  13-,  15-,  and  20-m 
pica,  cut  —  an  equal  number  of  each  —  and  any  measure, 
from  11-  to  50-m  pica,  may  be  made  out  of  them,  if  used 
in  the  manner  recommended  for  the  rules,  in  the  table  on 


page  51 . 

As  the  hight  of  leads  is  a  little  over  four  m,  it  would 
bo  ivell  to  have  the  4-m  pica  leads  cut  square ,  so  that  it 
M'ould  not  make  any  difference  -\vhicli  -way  they  are  put 
into  the  composing-stick. 


MATERIAL. 


.55 


For- book- work,  the  thickness  of  the  leads  should  be  in 
proportion  to  the  size  of  the  type  and  the  width  of  the 
page ;  4  to  pica  being  that  which  looks  best  in  an  octavo 
jiage  of  long  primer  or  small  jiica. 

The  measures  most  likely  to  be  used  are  the  following  : 

8vo ,  ra .  12mo ,  19  m,'.  £4mo ,  10  m . 

Should  a  printer  '  ivish  to  know  what  weight  of  leads 
would  be  required  to  interline  a  certain  number  of  jiages , 
the  following  figures  maj'  be  of  service  : 

3  pounds  G  to  i.ica  leads  =  4C0  inches . 

4  “  .I  “  “  “  =  5U0  “ 

1  “  4  “  “  “  =  ICO  “ 

The  inch  being  equal  to  six  pica  lines,  the  weight  for 
any  work  can  be  easilj^  ascertained.  For  instance,  were  it 
required  to  determine  the  weight  of  6  to  pica  leads  neces¬ 
sary  for  32  pages,  22  m  wide,  and  40  leads  in  a  page  ; 

No.  of  leads  in  a  page,  40 

£2  m  pica  =  3,-3  inches. 

1S>0  ■ 

No.  of  inches  in  a  page,  1402^ 

No.  of  pages ,  32 

292 

438 

Inches  of  leads  in  32  pages,  4093^ 

4u0  ;  4093  ; :  3  : 

3 

4 1 00)  140  (79 

35  pounds . 

If  it  were  required  to  find  the  weight  of  5  to  pica 
leads  for  the  same  number  of  lines  and  pages,  500  and  4 
should  be  used  instead  of  400  and  3,  in  the  above. 


QUOTATIONS. 

They  are  used,  in  book-work,  for  justifying  marginal 
no..os  in  their  projier  places  at  the  sides  of  the  pages ,  and 
for  the  blanks  at  the  heads  and  ends  of  chapters,  as  well 


50 


PllINTEK'S  MANTAE  : 


as  for  tlio  lilank  jiages.  They  are  also  rrsed,  in  job-work, 
to  justify  tlie  rules  which  run  clown  the  blank  jjart  of  tlie 
sheet,  in  such  jobs  as  bills  of  lading.  There  are  tlirec 
kinds  cast,  each  of  which  is  useful  for  certain  purposes. 

Tlie  first  and  most  useful  sort  consists  of  six  sizes :  viz. , 
1x4  2x4  3x4  4x4  Ux4  8x4 

These  quotations  will  be  found  far  more  convenient  than 
those  heretofore  furnished  by  the  type-foundries;  because, 
being  a  certain  number  of  pica  m  each  way,  they  will,  if 
properly  cast,  come  out  even  and  square,  in  any  manner 
in  which  they  may  be  pint  together.  This  could  not  be 
done  with  tlie  old  cpiotations,  because  they  were  made  to 
(>-  or  b-line  piica  one  way  and  double  great  primer  the  other. 

The  second  kind  consists  of  the  four  sizes  following  ; 

OxG  8x8  10x10  12x12 

And,  beside  their  use  as  cpiotations,  they  can,  as  the  hol¬ 
low  parts  run  entirely  through,  and  arc  perpendicular  and 
circular,  be  used  to  set  up  such  jobs  as  the  labels  on  the 
covers  of  j'dl-^’oxes. 

The  third  kind  has  the  same  number  of  sizes  as  the 
second;  but,  being  longer  one  way  than  the  other,  the  hol¬ 
low  parts  assume  the  shape  of  ovals.  The  sizes  are  : 

0x12  8x14  10x16  12x18 

The  hollow  parts,  in  the  second  and  third  kinds,  coming 
within  1-m  jiica  of  the  sides,  the  jobs  set  in  them  will  be 
two  m  shorter,  each  way,  than  the  numbers  given  above. 


METAL  F  U  11  N  I  T  U  E  E  , 

When  leads  are  of  a  greater  thickness  than  4  to  pica 
they  are  called  reglet  or  metal  furniture,  and  arc  cast  solid, 
if  the  size  be  nonpareil,  pica,  or  2-line  pica;  but,  above 
the  latter  size  they  are  cast  hollow,  so  as  to  obviate  any 
unnecessary  weight  in  the  form,  yet  strong  enough  to  bear 
anv  pressure  to  which  thei’'  may  be  liable  in  locking  up. 
Tn  width,  the  hollow  furniture  increases,  by  single  m,  from 
3-  to  12-m  pica. 

In  regular  sized  work:  such  as,  books,  pampldets,  and 


MATERIAL. 


57 

periodicals,  this  furniture  will  be  found  far  more  convenient 
than  the  wooden  furniture  in  use  generally;  because  there 
is  no  possibility  of  its  expanding  or  warping,  as  the  wood 
does ,  every  time  the  form  is  washed ,  or  the  types  are 
dampened  for  distribution. 

With  this  furniture  the  printer  can,  as  a  matter  of 
course,  make  any  width  of  margin  he  may  desire,  by  put¬ 
ting  two  or  more  pieces  together:  but  it  is  better,  if  the 
margin  is  not  over  12-m  pica,  to  have  it  all  in  one  piece; 
because  the  more  pieces  there  are  to  a  set  of  furniture  the 
more  likely  it  is  for  parts  of  it  to  get  mislaid. 


WOODEN  FUENITUEE. 

This  furniture  is  made  to  every  size  of  type  under  great 
primer,  and  above  that  size  it  is  made  to  pica  up  to  12-m. 

It  is  used  in  the  larger  class  of  jobs,  instead  of  leads, 
on  account  of  its  cheapness;  and,  being  of  less  weight, 
broadside  jobs,  in  which  it  is  used,  can  be  locked  up  and 
lifted  from  the  stone  with  less  trouble  than  would  be  the 
case  were  metal  used . 

It  would  be  a  saving  to  the  printer,  were  he  to  cut  this 
furniture  to  the  sizes  generally  required  in  the  course  of 
business ;  that  is ,  to  cut  it  so  as  to  suit  the  paper  he 
commonly  uses  for  posters.  He  should  have  two  sizes  for 
the  whole  sheet  — one  for  the  broad  and  the  other  for  the 
narrow  way.  For  the  half  and  the  quarter  sheet  the  fur¬ 
niture  should  be  cut  in  like  manner;  and  with  these  six 
lengths  he  will,  at  all  times,  be  able  to  do  a  job  with  more 
expedition  and  less  expense  than  he  would  were  he  obliged 
to  get  the  pieces  out  of  the  drawer  and  saw  them  for  every 
handbill  Avhich  he  might  be  called  upon  to  print. 


BEVELED  FUENITUEE. 

This  furniture  is  generally  made  a  yard  in  length,  and 
is  cut  to  suit  the  length  and  width  of  whatever  job  it  may 
be  required  to  lock  up;  and,  consequently,  the  pieces  are 
always  becoming  shortened,  and,  as  a  matter  of  course, 
less  useful ;  new  pieces  being  continually  purchased  to  make 


58 


PRINTER’S  MANUAL  . 


up  the  waste.  Tliis  could  be  obviated  entirely,  if  tlie  sug¬ 
gestion  made  in  Hansard’s  d’ypograjdiia  were  adojited  :  viz., 
that  bevels  be  cast  on  all  the  job-chases,  on  the  two  sides 
opposite  the  square  corner.  If  this  were  done,  the  use  of 
beveled  farniture  would  be  entirely  superseded,  in  job-  and 
stereotype-work ,  the  straight  furniture  and  quoins  being  all 
that  would  be  necessary.  _ _ ^ 


THE  STONE. 

The  stone  should  be  of  a  size  large  enough  to  take  on 
any  form  which  it  may  be  necessary  to  lock  uji.  Its 
surface  should  be  even  and  smooth ,  and  that  part  of  the 
frame  on  which  the  stone  rests  should  be  in  the  shape  of 
a  box,  so  that  tan- bark  or  saw-dust  could  be  jiut  into  it, 
in  which  the  stone  should  be  bedded.  If  tbis  were  not 
done,  the  stone  would  rest  upon  three  points  only,  and, 
when  large  and  thin,  would  be  liable  to  get  broken.  The 
frame  should  be  made  of  strong  timber,  and  well  fitted 
together  and  braced,  so  that  it  could  not  be  moved  laterally. 
It  should  also  have  a  drawer,  divided  into  compartments, 
for  furniture,  quoins,  and  such  like.  The  slides  in  which 
the  drawer  moves  should  be  so  made  that  it  could  be  juilled 
out  at  either  side  of  the  stone;  and,  when  the  drawer  is 
heavj',  it  should  run  on  rollers. 


STANDS. 

The  stands  are  generally  made  three  feet  seven  inches 
high,  at  the  side  next  the  comiiositor ;  the  inclined  part, 
on  which  the  lower  case  rests,  being  six  inches  higher  at 
the  back  than  at  the  front.  If  the  slant  be  greater  than 
this,  the  types  will  fall  from  the  upper  boxes  into  those 
below  them,  when  the  case  is  full;  and,  if  it  be  lower, 
the  compositor  will  have  farther  to  reach,  beside  not  being 
able  to  take  hold  of  the  types  so  readily,  when  the  boxes 
are  nearly  empty.  The  upper-case  being  higher  on  the 
frame  than  the  lower,  must  have  a  still  greater  inclination, 
yet  not  so  much  as  to  allow  the  types  to  become  pied. 


COMPOSITION^. 


In'  this  section  it  is  intended  to  give  such  infonnation  as 
may  be  necessary  in  reference  to  the  Cases,  Casing  the 
letter,  Distribution,  Casting  up  the  copy.  Composing,  and 
Making  up  the  pages.  In  doing  this,  it  will  not  be  required 
to  go  into  any  long  dissertation,  like  those  given  in  other 
Typographias ,  on  distributing  and  setting  types,  as  this 
work  is  intended  for  those  persons  only  who  have  a  general 
knowledge  of  the  trade ;  but  to  throw  out  such  hints  and 
dhections  as  may  be  of  practical  utility. 


THE  CASES. 

In  the  plan  of  a  pair  of  cases  hereafter  given,  the  man¬ 
ner  of  arranging  the  types  in  the  lower-case  is  the  same 
as  that  generally  adopted  throughout  the  United  States; 
the  only  alteration  made  in  it  is,  leaving  out  the  &,  which 
gives  room  for  another  thin-space  box. 

As  in  the  arrangement  of  the  upper-case  there  is  no 
uniform  method  —  the  capitals  being  sometimes  laid  on  the  — 
left-hand  side,  and  at  others,  on  the  right,  the  latter  has 
been  adopted;  because,  when  they  are  on  that  side,  the 
compositor  can  reach  the  boxes  with  more  facility  than  if 
they  were  on  the  left-hand  side;  and  his  copy,  being  placed 
on  the  part  of  the  case  which  contains  the  small  capitals, 
will  be  directly  in  front  of,  instead  of  to  one  side  and  a 
greater  distance  from  him.  ” 

The  three  upper  rows  of  boxes  not  being  arranged  alike 
in  any  two  offices,  it  was  thought  best  to  remodel  them 
and  place  the  sorts  in  classes,  so  that,  being  seen  once  or 
twice,  the  compositor  would  remember  afterward  where  they 
were  kept.  The  fractions,  instead  of  being  put  in  a  single 
row,  are  placed  in  three,  those  having  similar  denominators 
being  together.  The  x  and  oe  of  the  capitals,  small  capitals. 


GO 


PRINTER’S  MANUAL  : 


and  lower-case  arc  put,  one  above  the  other,  at  the  same 
side  of  the  case  and  in  the  order  named.  The  dashes  have 
been  placed,  according  to  size,  in  one  row  of  bu.Kcs,  and 
the  commercial  marks  and  $  arc  close  to  each  other  and 
directly  in  front  of  the  compositor. 

The  following  are  the  plans  of  the  upper-  and  lower- 
case.s  I 

UPPER  CASE. 


*lt 

M 

ppi 

° 

' 

" 

K 

(E  1  IK 

& 

ft,| 

£ 

- 

3 ; 

% 

iE  1  a: 

1 

$)  1 

@1 

s 

-l-l 

- 

✓4 

K 

X4 

"  1  “ 

h 

1 

n 

A  1  B  1 

h 

E 

F 

G 

H  j  . 

jK 

h 

M 

0 

II  1  I  1 

M 

N 

0 

.■  I  Q 

1-^ 

T 

1 

w 

p|q| 

h 

T 

V 

w 

X  1  V 

1  ='■ 

U 

u 

) 

L 

L 

u 

fl 

III 

LOWER  CASE. 


m 

h’r 

SI' 

>  ml4  ID 

sp  1  sp 

’  1  ^ 

h 

5 

G 

7 

8 

j 

9 

li 

c 

d 

e 

i 

s 

f 

P 

fl 

fi 

9 

0 

J 

Z 

I 

ra 

n 

h 

0 

y 

p 

’ 

w 

c 

B 

£: 

C 

ft 

X 

n 

V 

u 

t 

thick 

space. 

a 

r 

— 

— 

quads. 

CASING  THE  LETTER. 

When  the  types  are  to  be  used  continually,  as  on  daily 
newspapers,  there  should  be  a  pair  of  cases  for  every  fifty 
jjounds  of  types  in  the  fount;  because  the  capitals,  figures. 


COMPOSITION. 


61 


and  sorts  of  like  character  may  be  required  at  any  moment, 
and  they  should  be  where  they  could  be  taken  and  returned 
with  the  least  trouble  and  most  expedition.  But,  in  book- 
offices  there  need  not  be  more  than  one  pair  of  cases  to 
each  hundred  pounds ;  the  extra  sorts  being  left  in  paper 
until  required. 

The  best  and  most  expeditious  method  of  casing  letter 
is:  after  having  opened  the  paper  of  types,  on  the  stone, 
so  that  the  face  will  be  downward,  to  take  a  small  wooden 
galley,  such  as  those  used  by  type-founders,  and  place  it 
so  that  its  three  ledges  will  be  against  three  sides  of  the 
page  of  types;  then  to  grasp  the  paper  firmly  at  the  side 
of  the  galley  to  which  there  is  no  ledge,  the  opposite  side 
being  pressed  upon  the  stone  to  prevent  the  jiaper  from 
slipping;  then,  with  the  other  hand  at  the  back  of  the 
galley,  to  turn  it  over  by  drawing  the  paper  upward.  The 
letter  can  then  be  taken  out  of  the  galley  in  lines;  and, 
having  put  in  case  a  sufficient  amount  of  each  sort,  the 
remainder  can  be  tied  up  again  and  put  away  until  required. 
It  will  be  found  that  it  is  better  to  do  this  than  to  fill  the 
cases  to  repletion,  as  is  generally  done,  and  putting  the 
remainder  of  the  sorts  in  papers,  where  they  will  be  for¬ 
gotten  or  mislaid;  causing,  when  they  are  wanted,  a  loss 
of  time  in  hunting  them  out  of  the  corners  of  boxes  or 
drawers,  or  any  other  place  in  which  they  may  be  kept. 


DISTKIBUTING. 

The  only  directions  necessary  to  be  given,  under  this 
heading,  are  :  that  the  compositor  be  careful  not  to  throw 
the  letters  into  the  case  with  the  faces  downward,  especially 
large  types,  as  the  hairlines  thereby  become  injured;  neither 
should  he  distribute  his  cases  too  full,  because  the  types 
will,  when  he  is  composing,  fall  from  one  box  into  another, 
causing  delay  in  putting  a  part  of  them  back,  while  others 
will  escape  the  eye,  and  will  not  be  found  until  the  types 
are  read  over  in  the  stick  or  after  the  proof  is  taken.  It 
would  be  well  for  him,  also,  to  bear  in  mind  the  necessity 
of  immediately  picking  up  every  type  he  may  drop  on  the 
floor;  for,  apart  from  the  careless  habit  rvhich  it  engenders, 
the  types  are  liable  to  be  lost  or  destroyed. 


62 


rillN  TEH’S  MANl'AL  : 


THE  COPY. 

copy  should  be  written  on  one  side  of  the  I’aper 
only,  if  it.  be  intended  that  more  than  one  compositor  shall 
■work  on  it ;  because ,  at  the  end  of  takes ,  the  persons  set¬ 
ting  the  types  will  have  to  pass  the  manuscript  from  one 
to  the  other,  in  order  that  each  may  commence  and  close 
at  a  paragraph;  and,  were  it  written  on  both  sides,  the 
chances  are  that  two  compositors  would  require  the  same 
sheet;  thus,  one  having  to  wait  until  the  other  gets  through 
his  part,  it  would  cause  a  delay  to  the  work  and  a  loss  of 
time  to  the  compositor. 

Should  the  manuscript  contain  proper  names,  or  any 
other  words  or  phrases  the  meaning  of  -which  can  not  be 
made  out  from  the  context,  such  -words  or  phrases  should 
be  written  so  that  every  letter  could  be  easily  determined. 


CASTING  UP  COPY. 

The  best  method  of  casting  up  copy  is :  after  having 
made  u]i  a  composing-stick  to  the  measure  proposed  for  the 
width  of  the  work,  to  take  an  average  page  of  the  copj’, 
and  set  from  it  until  a  certain  number  of  lines  of  the 
manuscript  comes  out  even  with  a  number  of  lines  of 
types.  From  this  a  calculation  can  easily  be  made  for  the 
whole  of  the  work. 

Suppose  a  manuscript  of  250  pages,  and  31  lines  in  a 
page,  be  brought  into  an  office,  and  it  is  required  to  deter¬ 
mine  how  manj'  pAges  it  will  make  in  long  primer,  the 
page  being  28  m  wide  and  40  lines  of  types  in  length ; 
and  it  is  found,  by  setting  up  a  few  lines,  that  9  of  the 
manuscript  are  equal  to  7  of  the  types.  Then  : 


250  paijes  manuscript. 
31  lines  in  a  page . 

250 

75 

7750  lines  manuscript . 


9  :  7750  :  :  7 
9)542.50 

4!0)602]7  lines  of  ty^ies. 
151  l  ages  of  types . 


The  number  of  sheets  can  he  ascertained,  by  dividing 
150  by  8,  12,  or  16,  according  to  the  size  of  the  press 
on  which  the  work  is  to  be  done. 


COMPOSITION. 


63 


Another  method,  which  ivill  be  found  to  he  fully  as 
accurate  as  that  before  given ,  is  :  to  ascertain ,  by  calcula¬ 
tion,  the  number  of  words  in  the  manuscrijit;  then,  as  it 
has  been  found  that  1000  m  average  380  words  (that  is, 
2180  letters,  spaces,  and  quads),  if  the  number  contained 
in  the  manuscript  be  divided  by  380,  the  quotient  will  be 
the  number  of  1000  m.  Having  done  this,  the  number  of 
pages  it  will  make  in  any  sized  type  and  page  can  be  found 
by  ascertaining  how  many  square  inches  there  are  in  a  page, 
and  multiplying  that  number  by  the  number  of  m  in  a 
square  inch  of  the, size  of  type  in  which  it  is  to  be  set; 
then,  by  dividing  the  number  of  1000  m  in  the  manu¬ 
script  by  the  number  of  m  in  a  page,  the  number  of  pages 
will  be  the  answer. 

The  following  is  the  number  of  m  in  100  square  inches 
of  the  sizes  of  types  from  pica  to  agate,  inclusive  : 


Pica ) 

3600 

Brevier , 

8836 

Small  Pica, 

4900' 

Minion , 

10404 

Long  Piimer, 

5625 

Nonpareil , 

14400 

Bourgeois , 

6889 

Agate , 

19600 

The  numbers  given  in  the  above  list  are  based  on  the 
supposition  that:  6-m  pica,  7-m  small  pica,  7'5-m  long 
primer,  8’3-m  bourgeois,  9‘4-m  brevier,  10'2-m  minion, 
12-m  nonpareil,  and  IJ^i  agate,  are  equal  to  an  inch. 
TTIis  is  not  strictly  true;  but  the  variation  is  so  slight  that 
it  will  not  make  a  difference  of  1000  m  in  100  pages  of 
the  common  size. 

Suppose  it  were  required  to  determine,  according  to  the 
above  method,  how  many  pages  in  small  pica,  25  square 
inches  to  the  page,  a  manuscript  of  254  pages,  averaging 
263  words  to  the  page,  would  make  : 


254 

263 

762 

1.524 

5C8 

66F02 


38 1 0)6680 1 2(176 

25 

1225)176000(144 

38 

49 

1225 

288 

225 

53.50 

266 

ICO 

4900 

220 

1225 

4.500 

228 

4900 

In  using  either  of  the  above  modes  of  calculation,  it 
must  be  borne  in  mind  that  such  matter  as  tables,  notes, 
or  extracts  set  in  types  differing  in  size  from  that  of  the 
body,  must  be  cast  up  separately. 


61 


Pill  N  TEH’S  MANUAL  : 


COMPOSING. 

POSITION. 

The  position,  -when  setting  types,  should  be  siicli  that 
the  right  side  of  the  compositor  would  be  in  a  line  ivith 
the  central  division  of  the  lower  case;  because  he  will  be 
able  to  reach  the  boxes  at  the  left-hand  side  with  more 
ease  than  he  would  were  he  to  stand  directly  in  front  of 
the  centre  of  the  case.  The  bight  at  which  he  ought  to 
stand  should  be  such  that  he  could  reach  every  part  of 
the  case  with  facility,  j’et  not  enough  to  make  him  liable 
to  stooj)  his  shoulders ;  in  fact ,  his  jiosition  should  be  erect 
at  all  times. 

When  setting  types  the  compositor  should  be  careful 
not  to  acquire  a  habit  of  making  an}'  unnecessary  motions : 
such  as,  moving  the  body  back  and  forth,  striking  the 
type  against  the  edge  of  the  box  or  the  composing-rule, 
or  giving  it  a  flourish  in  the  air  while  bringing  it  from  the 
box  to  the  stick.  These,  or  any  other  false  movements, 
though  they  give  an  appearance  of  swiftness,  by  filling  up 
the  time,  materially  retard  the  compositor  in  the  perform¬ 
ance  of  his  work. 


STICK  AND  RULE. 

The  composing-stick  should  be  selected  according  to  the 
character  of  the  work  intended  to  be  done.  For  news¬ 
papers,  instead  of  having  them  so  that  they  could  be 
altered,  the  sticks  should  be  riveted,  to  obviate  the  possi¬ 
bility  of  their  being  changed  to  suit  the  notions  of  the 
compositors.  If  this  be  not  done,  the  types  set  up  by  dif¬ 
ferent  persons  will  be  found,  very  often,  to  vary  in  width, 
thus  preventing  the  form  being  locked  up  evenly,  and 
allowing  the  looser  portions  to  drop  out,  when  it  is  lifted 
from  the  stone;  or  to  be  drawn  out  by  the  rollers,  when  on 
the  press.  For  book- work,  the  stick  made  after  the  old 
Ilian  is  the  best;  because  the  movable  part,  being  held  in 
its  place  by  a  screw,  is  not  so  liable  to  be  shifted  as  if  it 
were  held  by  a  spring.  For  job-work,  tbe  stick  ^yhich  can 
be  altered  from  one  measure  to  another  in  the  easiest  man¬ 
ner  will  be  found  the  most  convenient;  and,  for  this  reason, 
the  one  which  is  retained  by  a  spring  is  the  best. 


COMPOSITION. 


65 


The  sticks  used  in  this  country  are  so  large  that,  when 
they  are  nearly  full,  it  is  tiresome,  and,  often,  impossible 
for  the  left  hand  to  follow  the  right,  as  it  should,  when 
setting  types.  In  France,  the  printers  use  sticks  which 
will  hold,  the  smallest  four,  and  the  largest  sev'en  lines  of 
pica,  while  the  smallest  size  made  in  the  United  States 
and  England  will  contain  ten  lines. 

The  composing-rule  may,  when  the  measure  is  16-m 
pica  or  less,  he  make  with  a  projection  at  both  ends,  so 
that  it  can  he  easily  lifted  by  the  thumb  and  finger;  but, 
when  the  measure  is  wider  than  that  stated  above,  there 
should  he  but  one  projection,  that  being  at  the  end  of  the 
rule  which  is  turned  to  the  outer  end  of  the  line.  The 
end  on  which  the  projection  is  left  is  generally  filed  slant¬ 
ing  downward,  so  that  it  can  be  drawn  from  between  the 
lines;  hut,  as  there  is  a  likelihood  of  the  comma,  or  ani^ 
other  thin  type,  slipping  past  it  and  binding  between  the 
end  of  the  rule  and  the  side  of  the  stick,  it  would  be 
better  if  that  part  were  left  straight  and  the  end  nearer  the 
compositor  beveled  upward,  to  the  hight  of  the  composing- 
stick. 

THE  GUIDE. 

As  the  guide  made  after  the  old  plan  is  inconvenient, 
on  account  of  the  compositor  having  to  take  his  copy  down 
from  the  upper-case  when  setting  small-capitals,  and  to 
readjust  it  under  the  guide  afterward,  it  would  be  better 
were  the  guide  made  out  of  two  strips  of  thin  brass,  long 
enough  to  reach  across  a  cap  page,  soldered  together  at  one 
end ,  so  that  the  sheet  of  copy  could  be  held  between  them : 
and  there  should  be  two  other  pieces,  each  about  one-half 
or  three-fourths  of  an  inch  long,  and  the  width  of  the  cen¬ 
tre  division  of,  the  case  apart,  fixed  at  right  angles  to  the 
former,  so  that  the  guide  could  be  put  on  any  part  of  the 
upper-  or  lower-case,  as  circumstances  might  require.  In 
taking  a  guide  of  this  kind  down  and  putting  it  again  in 
its  place,  the  line  of  copy  will  always  remain  at  the  point 
to  which  it  has  been  drawn  between  the  rules. 

SPACING. 

Evenness  of  spacing  being  the  best  criterion  of  a  good 
workman,  it  should,  at  all  times,  be  the  endeavor  of  the 
6 


66 


rilINTER’S  MANUAL  ; 


compositor  to  keep  up  a  uniform  method  in  this  respect; 
that  is,  he  should  make  the  sjoaces  between  the  words  hear 
such  a  relation  to  each  other  that  the  s^Dace  between  such 
letters  as  d  h  Mould  appear  the  same,  uhen  jirintcd,  as 
that  between  letters  like  y  u’. 

The  spacing  hetu’een  the  U’ords  should,  also,  bear  a 
projiortion  to  the  spaces  hetu-een  the  lines;  matter  -which 
is  leaded,  or  -vvhich  has  a  number  of  heads  or  hreaklines, 
admitting  of  wider  spacing  than  it  would  if  it  were  solid. 

The  May  in  M'hich  the  spaces  are  laid  in  tlie  loM'er- 
case  in  common  use  makes  even  si^acing  troublesome  to  the 
compositor;  because,  the  n-quad  being  at  one  corner  of  the 
case ,  and  the  thin-sj^aces  at  the  other ,  the  hand  M'ill ,  M'hen 
a  line  is  being  spaced,  have  to  go  over  a  greater  distance 
than  it  ^vould  M'ere  all  the  sjjace-hoxes  placed  close  to  each 
other,  and  near  the  hand  of  the  compiositor. 


To  obviate  the  inconvenience  mentioned,  the  above  plan 
of  a  loM'er-case  is  offered  for  the  consideration  of  the  trade. 
It  M'ill  be  seen  that,  in  this  arrangement,  all  the  spaces 
M'hich  are  required  in  justifying  are  directly  under  the  hand. 
In  any  of  the  plans  heretofore  proposed  the  n-quad  is  left 
in  the  old  place,  or,  M'hen  this  is  not  done,  the  hair-space 
is  throM'u  into  the  iqoper-case.  In  arranging  the  above  case, 
the  letters  have  been  made  to  occiq:)y,  as  nearly  as  possible, 
the  i)osition  M'hich  they  have  in  the  loM'er-case  in  common 
use;  the  only  type  left  out  being  the  apostrophe,  M'hich 
can  be  placed  in  the  box  in  the  upper-case  occiqhed  by  the 
bracket  —  this  latter  being  so  little  used,  at  present,  that 


COMPOSITION. 


67 


it  can  be  laid  in  some  of  the  upper  boxes  usually  reserved 
for  sorts  which  are  not  ordinarily  cast,  such  as  the  second- 
mark.  When  distributing  the  types,  the  lower-case  on  this 
plan  will,  also,  be  found  more  convenient;  because,  as  a 
general  thing,  two  spaces  differing  in  thickness  will  be 
found  together,  and,  were  the  boxes  to  Avhich  they  belong 
placed  far  apart,  the  hand  would  have  to  go  over  a  greater 
distance  in  proportion. 

GALLEYS. 

The  galleys  are  of  two  kinds  :  wood,  and  brass.  The 
former  has  ledges  on  two  sides,  and  is  generally  used  in 
book-  and  job-offices,  for  holding  the  types  until  the  “make 
up”  is  passed  to  it,  or  containing  parts  of  a  job  until  it 
is  all  composed.  The  brass  galley,  having  ledges  on  three 
sides,  can  be  used  for  proving  the  types  in  slips,  beside 
being  used  for  the  same  purpose  as  those  made  of  wood. 

The  wooden  galleys  should  never  have  water  put  on 
them;  for,  beside  their  liability  to  warpi,  the  fibre  of  the 
wood  becomes  loose  and  uneven ,  and ,  consequently ,  the 
types  can  not  be  made  to  stand  fairly  on  their  feet. 

When  the  brass  galleys  are  used  for  proving  types,  care 
should  be  taken  that  the  side-sticks  are  not  locked  up  so 
as  to  spring  either  of  the  side-ledges.  If  this  should  hap¬ 
pen  ,  the  galley  so  used  will  be  worthless ;  because ,  when 
types  are  placed  upon  it  afterward,  they  can  not  be  made 
to  set  square,  which  will  prevent  the  taking  of  good  proofs, 
and  ■will  cause  delay,  when  making  up,  in  getting  the  lines 
back  into  their  correct  position. 

MAKING  UP. 

The  proportion  which  the  length  of  a  page  should  bear 
to  its  width  is  found  by  doubling  the  width,  and  taking 
one-fifth  of  that  amount  off:  that  is,  if  a  page  be  26  m 
Avide,  tAvice  this  number  Avill  be  52,  from  Avhich  one-fifth, 
or  10,  is  to  be  taken,  leaving  42  m  for  the  number  of 
lines  of  reading-matter  in  the  page.  This  number,  Avith 
the  head-line,  the  blank-line  under  the  heading,  and  the 
foot-line,  will  make  45  lines  for  the  total  length. 

When  the  length  of  the  page  has  been  ascertained,  a 
ga^e  should  be  accurately  made.  The  best  Avay  to  make 
it  is:  to  take 'a  piece  of  pica  furniture,  a  couple  of  indies 


68 


PRINTER’S  MANUAL: 


longer  than  required,  and  ont  of  this  to  cut  a  part,  so  as 
to  leave  a  projection  at  each  end,  between  which  the  page 
is  to  he  ganged.  Should  there  he  chaiitcr-headings ,  or  any 
other  matter  of  like  kind,  the  number  of  lines  they  are 
to  be  sunk  ought  to  be  marked  on  the  gauge,  so  as  to 
obviate  the  risk  of  having  such  headings  higher  or  lower 
in  the  page  than  they  should  be. 

In  setting  the  running-title  or  head-line  of  the  jiage, 
tj'pes  two  or  three  sizes  smaller  than  that  of  the  body 
of  the  work  should  be  used;  because,  if  they  ivere  as  large 
they  would  ajqiear  coarse  and  lieavy. 

The  folios  should  be  iq  the  same  sized  types  as  the 
body  of  the  work;  and  the  compositor  should  bear  in  mind 
that  the  folios  of  the  even  pages  are  to  be  justified  in  the 
commencement,  and  those  of  the  odd  ones  at  the  ends,  of 
the  lines. 

The  signature  should  be  within  3  or  5  m  of  the  com¬ 
mencement  of  the  bottom  line.  If  it  should  be  put,  as  it 
very  often  is,  in  the  centre  of  the  line,  the  binder  will, 
when  collating  his  work,  lose  more  time  by  drawing  the 
sheets  farther  apart  than  he  would  if  they  ivere  jilaced  near 
the  beginning  of  the  line. 

When  a  part  of  a  sheet  is  to  be  cut  off  and  folded  as 
an  inset,  like  the  pages  from  the  9th  to  the  16th,  inclusive, 
in  a  form  .of  24  pages,  the  first  page  of  the  inset  should, 
beside  the  same  mark  as  the  first  page  of  the  fonn,  have 
an  additional  mark  by  which  it  could  be  knowm  as  an 
inset:  that  is,  if  the  first  page  of  the  form  be  marked  B, 
the  first  page  of  the  inset  should  be  marked  B2,  and,  if 
figures  be  used,  2  and  2*  will  answer  the  same  purpose. 
If  the  work  should  consist  of  more  than  one  volume,  the 
number  of  the  volume  should  be  placed  in  the  same  line 
as  the  signature. 

Head-  and  foot-lines,  or  any  other  lines  in  which  quads 
are  used,  should  not  be  justified  as  tightly  as  the  lines  of 
types.  If  they  should  he  of  the  same  length,  they  will 
bind  on  the  furniture,  and  allow  some  of  the  types  to  fall 
out  on  the  stone,  or  be  drawn  out  at  press. 

In  tying  up  the  page  care  should  be  taken  that  the  turns 
of  the  twine  do  not  overlap  each  other,  and  that  it  is  on 
the  centre  of  the  shank  when  the  page  is  lifted. 


COMPOSITION. 


69 


TABLE  OF  SIGNATURES. 


TWELVES. 

SIXTEENS. 

TWENTY- 

FOURS, 

16  with  Inset. 

TWENTY- 

FOURS, 

16  and  8. 

PAGE. 

O 

M 

m 

s 

PAGE. 

d 

o 

Ph 

2 

m 

1 

1 

1 

1 

1 

1 

1 

1 

5 

1.. 

17 

2 

9 

1.. 

17 

2 

n 

2 

33 

3 

25 

2 

25 

3 

17 

2.. 

49 

4 

49 

2.. 

41 

4 

25 

3 

65 

5 

57 

3 

49 

5 

29 

3.. 

81 

6 

73 

3.. 

65 

6 

,  37 

4 

97 

7 

81 

4 

73 

7 

41 

4.. 

113 

8 

97 

4.. 

.  89 

8 

49 

5 

129 

9 

105 

5 

97 

9 

53 

5.. 

145 

10 

121 

5.. 

113 

10 

61 

6 

161 

11 

129 

6 

121 

11 

65 

6.. 

177 

12 

145 

6.. 

137 

12 

73 

7 

193 

13 

153 

7 

145 

13 

77 

7.. 

209 

14 

169 

7.. 

161 

14 

85 

8 

225 

15 

177 

8 

169 

15 

89 

8-. 

241 

16 

193 

8.. 

185 

16 

97 

9 

257 

17 

201 

9 

193 

17 

101 

9-- 

273 

18 

217 

9-. 

209 

18 

109 

10 

289 

19 

225 

10 

217 

19 

113 

10-- 

305 

20 

241 

10.. 

233 

20 

121 

11 

321 

21 

249 

11 

241 

21 

125 

ll-- 

337 

22 

265 

11.. 

257 

22 

133 

12 

353 

23 

273 

12 

265 

23 

137 

12.- 

369 

24 

289 

12.. 

281 

24 

145 

13 

385 

25 

297 

13 

289 

25 

149 

13-- 

401 

26 

313 

13.. 

305 

26 

157 

14 

417 

27 

321 

14 

313 

27 

161 

14.. 

433 

28 

337 

14.. 

329 

28 

169 

15 

449 

29 

345 

15 

337 

29 

173 

15.. 

465 

30 

361 

15.. 

353 

30 

181 

16 

481 

31 

369 

16 

.361 

31 

185 

16-. 

497 

32 

385 

16.. 

377 

32 

193 

17 

513 

33 

393 

17 

385 

33 

197 

17.. 

529 

34 

409 

17.. 

401 

34 

205 

18 

545 

35 

417 

18 

409 

35 

209 

18.. 

561 

36 

433 

18.. 

425 

36 

217 

19 

577 

37 

451 

19 

433 

37 

221 

19.. 

593 

38 

467 

19.. 

449 

38 

70 


PRINTER’S  MANUAL  : 


A  TABLE 

Showing  the  number  of  lines  contained  in  1000  m,  in  all 
measures  from  10  m  to  100  m  wide  : 


jSI 

Lines 

Lines 

M 

Lines 

wide . 

long . 

wide . 

long . 

wide . 

long. 

10-0  . 

.  .100-00 

27-0  . 

. .  37-03 

44-0  . 

. .  22-72 

10-5  . 

. .  95-24 

27-5  . 

. .  36-36 

44-5  . 

. .  22-47 

11-0  . 

. .  90-91 

28-0  . 

. .  35-71 

45-0  . 

. .  22-22 

11-5  . 

. .  86-96 

28-5 

. .  35-09 

45-5  . 

. .  21-97 

12-0  . 

. .  83-33 

29-0  . 

. .  34-48 

46-0  . 

. .  21-74 

12-5  . 

. .  80-00 

29-5 

. .  33-90 

46-5  . 

. .  21-50 

13-0  . 

. .  76-92 

30-0  . 

. .  33-33 

47-0  . 

. .  21-27 

13’5  . 

. .  74-07 

30-5  . 

. .  32-79 

47-5  . 

. .  21-05 

14-0  . 

..  71-43 

31-0 

. .  32-26 

48-0 

,  .  20-83 

14-5  . 

. .  68-02 

31-5  . 

. .  31-75 

48-5  . 

. .  20-62 

15’0  . 

. .  66-66 

32  0  .  , 

. .  31-10 

49-0  . 

. .  20-41 

15-5  . 

. .  64-52 

32-5 

. .  30-77 

49-5 

. .  20-20 

16-0  . 

. .  62-20 

33-0 

. .  30-30 

50-0 

. .  20-00 

16-5  . 

. .  60-61 

33-5 

. .  29-85 

50-5  . . 

, .  19-80 

17-0  . 

. .  58-82 

34-0 

29-42 

51-0  .. 

, .  19-62 

17-5  . 

. .  57-14 

34-5 

. .  28-98 

52-0  .. 

, .  19-23 

18-0  . 

. .  55-56 

35-0 

. .  28-57 

53-0 

. .  18-87 

18-5  . 

. .  54-05 

35-5 

, .  28-17 

54-0  .. 

, .  18-51 

19-0  . 

. .  52-63 

36-0  . . 

. .  27-78 

55-0  . , 

, .  18-18 

19-5  . 

. .  51-28 

36-5  .. 

, .  27-40 

56-0  .. 

, .  17-85 

20-0  . 

. .  50-00 

37-0 

, .  27-02 

57-0  .. 

, .  17-54 

20-5  . 

. .  48-78 

37-5  .. 

, .  26-66 

58-0  .. 

.  17-24 

21-0  . 

. .  47-62 

38-0  .. 

.  26-31 

59-0  .. 

.  16-95 

21-5  . 

. .  46-51 

38-5  .. 

.  25-97 

60-0  .. 

.  16-66 

22-0  . 

. .  45-45 

39-0  .. 

.  25-64 

610  .. 

.  16-39 

22-5  . 

. .  44-44 

39-5  .. 

. .  25-32 

62-0  .. 

.  16-13 

23-0  . 

. .  43-48 

40-0  .. 

.  25-00 

63-0  .. 

.  15-87 

23-5  . 

..  42-55 

40-5  .. 

.  24-69 

64-0  .. 

.  15-55 

24-0  . 

. .  41-66 

41-0  . . 

.  24-39 

65-0  . . 

.  15-38 

24-5  . 

. .  40-82 

41-5  .. 

.  24-10 

66-0  .. 

.  15-15 

25-0  . 

. .  40-00 

42-0  .. 

.  23-81 

67-0  .. 

.  14-92 

25-5  . 

. .  39-22 

42-5  .. 

.  23-53 

68-0  .. 

.  14-71 

26-0  . 

. .  38-46 

43-0  . . 

.  23-26 

69-0  .. 

.  14-49 

26-5  . 

. .  37-74 

43-5  .. 

.  22-99 

70-0  . . 

.  14-28 

M 

Lines 

wide . 

long. 

71-0  ., 

. .  14-08 

72-0  ., 

. .  13-88 

73-0  ., 

, .  13-70 

74-0  ., 

, .  13-51 

75-0  .. 

, .  13-33 

76  0  .. 

, .  13-15 

77-0  .. 

, .  12-98 

78-0  .. 

.  12-82 

79-0  .. 

.  12-66 

80-0  .. 

.  12-50 

COMPOSITION 

M 

Lines 

wide . 

long. 

81-0  ... 

12-38 

82-0  ... 

12-19 

83-0  ... 

12-05 

84-0  ... 

11-90 

85-0  ... 

11-76 

86-0  ... 

11-63 

87-0  ... 

11-49 

88-0  ... 

11-36 

89-0  ... 

11-23 

90-0  .. . 

11-11 

71 

M 

Lines 

wide . 

long . 

91-0  , 

.  10-98 

92-0  . 

.  10-87 

93-0  . 

.  10-75 

94-0  . 

.  10-63 

95-0  . 

.  10-51 

96-0  . 

.  10-41 

97-0  . 

.  10-31 

98-0  . 

.  10-20 

99-0  . 

.  10-10 

100-0  . 

.  10-00 

Ill  referring  to  the  foregoing  table,  it  will  be  seen  that 
the  measures  are  calculated  by  n,  up  to  50  m,  and  by  in 
for  all  the  widths  above  that  number. 


A  TABLE 


Showing  the  number  of  m,  in  the  various  kinds  of  types, 
which  will  occupy  the  same  space  as  1000  m,  in  all 
the  sizes  from  pica  to  nonpareil,  inclusive  : 


Pica, 

1000 

750 

640 

520 

400 

340 

250 

Small- Pica, 

1320 

1000 

850 

695 

540 

455 

333 

Long-Primer,  1550 

1160 

1000 

810 

633 

535 

390 

Bourgeois , 

1900 

3425 

1225 

1000 

775 

655 

480 

Brevier, 

243-3 

1833 

1566 

1285 

1000 

840 

615 

Minion , 

2880 

2160 

1850 

1500 

1180 

1000 

730 

Nonpareil, 

4000 

3000 

2560 

2080 

1600 

1360 

1000 

COMPOSITION  OF  ALGEBKA. 

This  is  the  most  difficult  description  of  work  which  a 
compositor  has  to  perform,  both  on  account  of  the  accuracy 
required  in  justification,  and  the  want  of  the  necessary 
sorts  in  almost  every  printing-office. 

The  lower-case  letters;  a,  b,  c,  x,  y,  z,  etc.,  are  used 
in  the  formulas.  They  should  be  set  in  italic,  if  the  lines 
in  v/hich  they  are  placed  be  roman,  and  vice  versa.  When 


72 


PRINTER’S  MANUAL: 


capital  letters  are  inserted,  the  roman  should  he  employed 
in  all  cases.  It  would  he  a  great  convenience  if  the  lower¬ 
case  letters,  used  for  this  purpose,  were  cast  to  the  size 
of  the  figures;  because,  in  all  fractional  formulas,  this 
would  make  both  parts  range  correctly  without  it  being 
necessary  to  justify  every  letter. 

The  signs:  +,  — ,  Xi  —  >  >  ®tc. ,  which  are  used 

in  algebraic  work,  should  he  cast  twice  the  thickness  of  a 
figure ;  and ,  in  fact ,  every  thing  used  in  the  examples 
to  the  questions  should  he  exact  parts  of  an  m-quad. 
The  smaller  signs,  used  in  exponents  and  series,  should  he 
on  the  body  in  such  a  position  that  they  would  fall  in 
their  proper  place  between  the  superior  and  inferior  letters, 
when  turned  in  either  dhection,  as  : 

x™  +  ax'"*'  ,  S„._, 

The  radical  sign  shonld  he  kerned  at  the  top,  so  that 
it  could  he  joined  to  a  space-rule,  as  : 

s/a-j-  i  =  X 

and  the  larger  radical  sign  should  he  made  in  the  same 
manner,  and  also  be  as  wide  as  two  lines  and  the  space- 
rnle  which  is  run  between  them . 

In  setting  two  or  more  lines,  the  similar  expressions  in 
each  should  he  placed  one  above  the  other,  as  : 

8x  +  9y  -f  82  =  2700 
12x  -I-  12y  -j-  IO2  =  3600 

ax  +  l>!/  +  cz  =  d 
a'x  -t-  h'y  -j-  c'z  =  d' 
a"x  -\-  h"  y  -|-  d'z  =  d" 

When  an  equation  is  too  long  for  the  measure  of  the 
page,  it  should  be  divided  either  at  the  sign  X  or  =,  and 
each  part  must  he  justified  in  the  centre  of  the  line  which 
it  occupies. 

Such  words  as:  Hence  or  Therefore,  when  used  in 
this  kind  of  work,  should  be  placed  in  the  commencement 
of  the  line,  and  when  a  figure  is  put  in  as  a  direction  to 
some  other  formula,  it  should  be  put  between  parentheses 
or  brackets,  at  the  outer  end  of  the  line. 


COMPOSITION. 


73 


The  short  part  of  a  fraction  should  be  justified  in  the 
centre  of  the  long,  without  reference  to  either  being  divisor 
or  dividend,  and  the  space-rule  which  separates  them  should 
be  equal  in  length  to  the  larger  part,  as  : 

ch  —  y  B 

a  0-00001 

In  putting  together  such  examples  as  the  above,  the 
most  expeditious  method  of  proceeding  is,  to  look  along 
the  line,  and  compose  the  longer  part  of  each  fraction, 
with  the  signs  which  may  be  between  them,  as  : 

cb  —  y  —  O'OOOOl 

The  line  so  composed  should  be  placed  on  a  galley,  and 
each  of  these  portions  can  be.  put  in  the  composing-stick, 
as  required,  and  the  remainder  of  the  compound  line  can  be 
finished  with  very  little  trouble  and  without  loss  of  time. 


COMPOSITION  OF  MUSIC. 

The  type-founders  differ  so  much  in  the  cut  of  their 
music- types  that  no  special  directions  can  be  given  to  assist 
a  compositor  in  setting  up  this  kind  of  work;  yet,  it  may 
be  well  to  state,  that  the  stems  should  be  two-and-one-half 
m  in  length,  in  order  to  make  the  page  look  well;  and, 
when  more  than  one  clef  is  used,  that  which  contains  the 
longer  notes  should  be  justified  so  that  these  would  fall 
precisely  under  the  first  of  those  which  occupy  the  same 
time  in  the  other  clef,  instead  of  in  the  centre. 

Some  of  these  founts  are  made  so  that  the  line  is  on 
the  upper  edge  of  the  body,  while  others  have  the  line  in 
the  centre.  Another  class  of  music-founts  is  cast  so  that 
the  lines,  which  in  this  kind  are  made  of  thin  brass-rule, 
can  be  put  into  their  places  after  the  line  or  page  has  been 
composed;  and,  there  is  yet  another  kind,  in  which  the 
notes  and  the  lines  are  made  up  in  separate  pages,  the 
press  being  built  in  such  a  manner  that  the  form  could  be 
reversed,  after  the  first  impression  on  each  sheet,  and  the 
notes  printed  over  the  lines,  and  vice  versa.  The  last 
comes  the  nearest  in  appearance  td  punched  music. 

7 


74 


PKINTER’S  MANUAL  : 


COMP 

OSITIO 

N 

0  F 

GREEK. 

The  greek 

alphabet  contains  tweutv-lbu 

■  letters 

which 

are  arranged  in  the 

followin 

g  order  : 

Figure . 

Name . 

Power . 

Figure . 

Name.  Power. 

A 

a 

Alpha, 

a . 

N 

V 

Ku, 

n . 

B 

Beta , 

b. 

T 

Xi, 

X  . 

r 

7 

Gamma , 

§'• 

0 

0 

0  micron , 

o  short 

A 

d 

Delta , 

d. 

n 

n  S 

Pi, 

P- 

E 

e 

Epsilon , 

e  short. 

p 

P 

Rho , 

r . 

Z 

s’ 

Zeta , 

z . 

2 

a  p 

Sigma , 

s. 

H 

V 

Eta, 

e  long. 

T 

T 

Tail , 

t. 

0 

d  0 

Theta, 

th. 

T 

V 

Upsilon , 

u . 

I 

i 

Iota , 

i . 

<!> 

</» 

Phi, 

f. 

K 

K 

Kappa , 

k. 

X 

a; 

Chi, 

ch. 

A 

1 

Lambda, 

1. 

T 

V’ 

Psi, 

ps. 

M 

Mu, 

m . 

0) 

Omega, 

0  long. 

Beside  the  letters  shown  above,  some  greek  founts 
have  a  long  y  and  r,  as  well  as  an  initial  a.  The 

p,  and  (p  are  also  made  of  other  shapes  beside 
those  given ;  but ,  as  such  sorts  only  encumber  the 
case,  and  are  of  no  practical  use,  it  would  be  as 
well  to  leave  them  out. 

The  character  j3  is  used  at  the  commencement  of 
words,  and  6  in  the  middle,  as:  fiapdapog . 

The  two  letters  ■&  and  6  are  used  in  the  same 
manner ,  as  :  -Svinov ,  j3ddpa  . 

The  letter  a  is  used  at  the  beginning  and  in  the 
middle  of  words,  and  p  at  the  end,  as:  ovjJbtaoLp . 
The  hnal  p  will  sometimes  be  found  in  the  middle 
of  words .  In  all  such  cases  the  word  is  compound , 
as :  'rrpogt(p7] . 

The  ligatures  “  and  k,  are  the  oidy  ones  made 
at  present.  The  tirst  represents  the  letters  st,  and 
the  latter  the  word  k  a  i . 


COMPOSITION. 


7.5 


The  following  are  the  aspirates  aud  accents,  with 
the  various  combinations  which  they  form  : 


’  Lenis . 

'  Asper. 
Acute . 
Grave . 


Circumflex . 

^  Circumflex-lenis . 
Circumflex-asper . 
Diaeresis. 

^  Diceresis-acute . 

Dimresis-grave . 

'■  Circumflex -diaeresis . 
”  Asper-lenis . 


Lenis-acute . 
Asper-acute . 


"  Lenis-grave. 
''  Asper-grave. 


The  letter  v  is  the  only  vowel  which  takes  all 
the  above  accents . 

The  vowel  i  takes  all  of  the  accents ,  with  the 
exception  'of  the  asper-lenis . 

The  a,  7] ,  and  o)  do  not  take  the  diaeresis ;  and 
for  this  reason  the  accents  placed  over  these  letters 
are  twelve  in  number.  The  accents  over  the  a, 
and  (j  are  the  same  as  over  the  a,  tj  ,  and  w ,  with 
the  exception  of  the  asper-lenis,  Avhich  makes  their 
number  eleven  only . 

The  vowels  e  and  o  do  not  take  the  circumflex, 
the  diaeresis ,  or  the  asper-lenis ,  which  reduces  the 
number  used  over  these  letters  to  eight . 

The  circumflex-diaeresis  and  the  asper-lenis  not 
being  often  required,  are  never  cast,  but  must  be 
made  by  the  compositor . 

In  giving  a  plan  of  the  greek  cases,  the  system 
heretofore  followed  has  been  departed  from.  Instead 
of  the  capitals  being  arranged  in  alphabetic  order, 
they  are  placed,  as  near  as  possible,  in  the  boxes 
which  would  contain  the  letters  of  like  sounds  in  the 
english  alphabet.  The  lower-case  has  been  altered  in 
the  same  manner,  and  the  boxes  for  the  y,  p,  r, 
and  (j)  have  been  duplicated,  so  that,  if  these  sorts 
be  cast  of  both  shapes ,  there  Avill  be  a  box  for  each . 

The  following  is  the  plan  of  the  greek  cases  : 


76 


I’KINTER’S  MANUAL  : 


w 

m 

o 

w 

Ph 

p^ 


o 


!  1 

S-. 

''li 

1  ' 

•«^ 

: 

^•s;> 

'-3 

*-3 

>-3- 

'^3- 

>-3 

'•3- 

«s- 

*3 

'3 

<3- 

'S> 

<3- 

^3 

‘3 

^3- 

^3=- 

^3- 

^3 

'3 

=3- 

>=3^ 

-3- 

^3 

‘3- 

<=3^ 

‘3- 

... 

=>3 

‘3 

>^3- 

‘3^ 

^3- 

-3 

^3 

/?> 

''3- 

'3 

'3 

'3- 

'3=- 

'3- 

-3 

^3 

^3- 

‘3- 

'3 

*“3 

'8- 

'3^ 

*“3- 

^  1 

3- 

u 

■<  ! 

*0* 

\ 

>a 

A 

H 

-e 

<] 

i^i 

' 

se 

=■3 

1—1 

1^ 

tS3 

‘8 

1^ 

- 

1 

' 

'3 

- 

-3 

3^ 

[—1 

'3 

1—1 

1 

COMPOSITION 


78 


PKINTER’S  MANUAL  ; 


The  letters  of  the  greek  alphabet  are  used  as  numerals. 
Those  from  1  to  999  have  a  minute-mark  or  acute  accent 
placed  after  them,  so  that  they  can  be  distinguished  from 


e  01 

■dinary  letters 

as 

in  the 

following 

example  : 

1 

O 

3 

4 

5 

c 

7 

8 

9 

10 

a 

i3' 

r' 

6' 

e' 

r' 

r 

V' 

d' 

l' 

11 

12 

13 

14 

15 

IG 

17 

18 

19 

20 

la' 

c(3' 

i6' 

le 

G"' 

17]' 

cd' 

k' 

21 

oo 

30 

40 

50 

60 

70 

80 

90 

100 

Ka' 

Kfi' 

X' 

v' 

o' 

tt' 

y 

P' 

200 

300 

400 

500 

COO 

700 

800 

900 

o' 

T 

v' 

(P' 

l/l' 

U)' 

7!)' 

From  the  number  1000  to  999,999  the  letters  are  used 
in  the  same  manner,  the  only  ditference  being,  that  the 
minute-mark  is  placed  before,  and  at  the  bottom  of,  the 
letters,  in  the  following  manner  : 

10(10  SIOOO  3000  lOOO  5000  COOO  "OOO  8000  i 

,7  .V  ) 


To  designate  the  number  1,000,000,  and  all  others  of 
higher  denomination,  the  letters  are  used  as  in  the  latter 
examjile,  the  only  difference  being,  that  two  minute-marks 
are  used  instead  of  one,  as  may  be  seen  below  : 


1,000,000  2,000,000  3,000,000 

««  .7 


4,000,000 


5,000,000  ) 


The  signs  of  punctuation  used  in  the  greek  are  :  the 
comma,  period,  semi-colon,  and  the  period  reversed.  The 
comma  and  the  period  are  used  in  the  same  manner  as 
in  the  latin  and  english.  The  semi-colon  is  used  as  an 
interrogation-point ;  and  the  reversed  period  in  place  of  the 
colon.  In  some  editions  of  greek  works  iniblished  in  Ger¬ 
many,  the  exclamation-point  is  used. 

The  apostrophe  is  often  used  to  cut  off’  a  vowel  at  the 
end  of  a  word,  when  the  next  commences  with  a  vowel. 
In  such  cases  the  apostroiffie  should  have  a  space  put  after 
it,  so  that  it  may  not  be  mistaken  for  the  lenis. 


COMPOSITION. 


79 


COMPOSITION  OF  IIEBEEW. 


There  are  twenty-two  letters  in  tlie  hebrew  alphabet, 
which  are  read  from  the  right  to  the  left,  as  follows  : 

Power ,  TII  SH  R  KH  T7.  F  O  S  N  M  _L  K  Y  T  CIl  Z  V  H  D  O  B  A 

Figure,  j ’  Drr  r  *)  np  j :}k 


Name,  >§•«§' 


■s  i 


•S  ^ 


The  letters  given  below,  which  are  used  as  finals,  differ 
in  shape  from  those  of  the  same  power  in  the  alphabet  : 

TZ  F  N  M  K 

ni°T 

As  the  division  of  words  is  not  allowed  in  the  hebrew, 
the  following  letters  are  cast  broad,  so  that  the  comjjositor 
will  he  enabled  to  justify  his  lines,  without  any  trouble  : 

TII  M  .  L  H  A 

n  Q  S  n 

There  are  several  letters  which  might  be  inserted,  one 
for  another,  on  account  of  their  similarity  in  appearance. 
The  whole  of  them  are  given  in  the  next  line,  so  that  a 
glance  will  show  the  difference  between  them  : 

:|?v  :dd  :dd  jnnrr  q*n“T  ::ji 

Some  hebrew  founts  have  four  distinct  alphabets  cast  to 
them  :  the  first  being  the  simple  letter  (  J7 )  without  any 
point  or  mark;  the  second,  (H),  haying  a  point  within 
the  body  of  the  letters ;  the  third ,  (  H point  at  the 
top;  and,  the  fourth,  (J^),  one  at  the  top,  and  another 
within  the  letter.  But,  as  the  two  latter  alphabets  are  not 
often  used,  and  only  encumber  the  case,  they  had  better 
be  left  out,  with  the  exception  of  a  few  sorts  which  are 
placed  above  the  alphabet  in  the  upper-case;  the  other 
points,  which  are  not  often  used,  being  justified  in  the  line 
with  the  superior  accents. 


80 


l'  H  I  N  T  F.  U  ’  S  M  A  N  r  A  L  : 


Beside  the  points  mentioned  on  the  preceding  page, 
there  are  seven  vowel-points  cast  on  a  body  half  that  of 
the  size  of  the  types,  so  that  they  can  be  justified  under 
the  letters.  The  names  and  shapes  are  given  below  : 


kamets,  patach ,  slieva,  chirck ,  segol,  tseri,  kybbutz. 

Some  of  these  vowels  may  be  combined,  as  follows  : 

cliatef-kamets ,  chatef-segol ,  chatef-patach  . 


There  are  also  twenty-four  tonic  signs,  cast  like  the 
preceding,  some  of  which  are  justified  at  the  top  of  the 
letters  and  the  others  at  the  bottom  of  the  line.  These 
which  are  placed  at  the  top  are  the  following  : 

:  1*  •  ^  fv3 

segolta,  little  sakeph ,  great  sakeph ,  rebia,  pasclita  or  kadma,  sarka, 

y  QP  p  q  f 

shalshelet ,  paser,  karne-phara,  great  telischa ,  little  telishcha)  geresh, 

<(  > 
double  gerish  or  guershaim  jethib . 


Those  accents  which  are  justified  below  the  line  are  : 

1  rt  ^  «  J 

silluk,  athnach ,  tiphcua,  merka,  double  merka ,  munach ,  tebir, 

<  I  V 

mahpach  ,  darga ,  iarach . 


There  is  another  accent,  called  Pesik,  which  is  placed 
in  the  line  wdth  the  letters,  as  :  IK 

The  small  circle  (°)  is  used  as  a  mark  of  reference, 
and  is  justified  in  the  line  wdth  the  superior  points. 

There  are  two  punctuation-marks  used  in  the  body  of 
liebrew  work.  The  one  most  commonly  used  is  shajjed 
like  our  colon,  (  J  ),  and  the  other  is  like  a  period,  (  '  ), 
with  the  nick  turned  inward.  Both  of  them  are  used  in 
the  same  manner  as  the  roman  period.  When  either  of 
these  points  are  inserted,  it  should  have  a  thick  space  put 
between  it  and  the  preceding  word. 


COMPOSITION. 


81 


The  Makkeph  (“)  is  used  between  two  words,  to 
show  that  they  are  compound. 

A  sign  like  a  minute-mark  (  ' )  is  sometimes  employed 
to  show  that  a  letter  has  been  cut  olf  at  the  end  of  a 
word ;  and  when  two  ( "  )  are  inserted ,  it  denotes  that  the 
word  which  precedes  it,  and  that  which  follows,  form  one 
or  more  compound  words.  . 

The  only  ligature  used  is  the  which  represents  the 
two  letters:  Auleph  and  Laumed. 

As  the  hebrew  reads  from  right  to  left,  the  types  must 
be  composed  in  a  manner  somewhat  different  from  the  usual 
method.  Printers  generally  hold  the  composing-stick  so 
that  they  can  commence  at  the  outer  end  of  the  line, 
and  set  the  types  from  the  right  to  the  left.  This  mode, 
beside  being  inconvenient,  compels  the  compositor  to  lift 
the  line  in  order  that  the  superior  points  may  be  justified 
in  their  proper  position.  The  most  expeditious  method  of 
proceeding  is,  to  commence  at  the  nearer  end  of  the  stick, 
and  set  the  types  with  the  nicks  inward,  and  justify  the 
line  to  the  measure  by  means  of  spaces,  and  the  broad 
letters,  after  which  the  superior  points  must  be  justified  in 
their  places,  when  the  line  will  appear  as  follows  : 

4^1  5s'L£:4  LliiN’  CfQ  NU.U :  uru  uuu 

The  line  of  text,  and  that  which  contains  the  points,  must 
now  be  turned,  by  using  the  composing-rule  and  a  lead, 
so  that  the  nicks  will  be  upward.  The  vowel -points  are 
next  to  be  justified  under  the  letters  to  which  they  belong, 
and  the  following  will  be  the  appearance  of  the  line  : 


The  line  of  letters  should  be  looked  over  carefully, 
before  the  points  are  justified  above  and  below  it;  because 
if  a  word,  or  even  a  letter,  should  be  doubled  or  left  out, 
the  correction  of  the  line  will  cause  the  loss  of  much  time. 

The  common  alphabet,  in  the  lower-case,  and  the  one 
in  the  upper-case,  have  been  put  in  the  boxes  to  which 
they  correspond  in  the  roman. 

The  plan  of  the  cases  is  given  on  the  next  two  pages  : 


82 


I'UINTEIl’S  MANUAL  : 


The  points  should  be  justified  under  the  centre  of  the 
square  letters,  and,  when  a  letter  descends  more  on  one 
side  than  the  other,  the  point  must  be  placed  exactly 
under  the  lower  part. 

When  two  points  are  put  under  a  letter,  and  they  are 
broader  than  it,  the  letter  must  have  a  space  put  on  each 
side,  so  that  the  points  Avill  not  run  under  the  types  which 
come  before  or  after  it. 


COMPOSITION. 


83 


J— 

*  spiBub  in 

1 

ed  y 

^  1 

1 

a 

JTT 

•spiBiib  u 

- 

.  1 

c 

Q 

*  1 

0 

/a 

r 

s 

j: 

% 

z 

c 

n 

Thick 

Spaces . 

r 

£)  i 

'sajiidg 

n 

o 

■saaedg 

N  -SJUlOj 

n 

1 

saasds 

pus 

BpBnt) 

The  letters  and  points  should  he  made  to  even  portions 
of  an  m,  so  that  they  could  be  justified,  one  under  the 
other,  with  the  least  possible  trouble. 

The  ascending  and  descending  letters  should  not  ho 
allowed  to  hang  more  than  half  an  m  above  or  below  the 
body  on  which  they  are  cast;  because,  they  will  make 
the  lines  crooked,  or  else  become  broken,  should  they  he 
justified  one  above  the  other. 


84 


I'KINTEll’S  MANTTAIi  . 


The  letters  of  the  alphabet  are  used  for  inimbcrs,  in 
a  manlier  nearly  like  they  are  oniplo3'ed  in  the  greek  : 


y 

> 

D 

n 

r 

1 

n 

1 

Jl 

V2 

11 

10 

9 

8 

7 

G 

5 

4 

3 

O 

1 

s 

NO 

y 

n’ 

V 

ID 

•10 

31 

3U 

£1 

20 

19 

18 

17 

1C 

15 

14 

13 

5 

X" 

D 

a 

KD 

lUO 

1)1 

90 

81 

80 

71 

70 

01 

CO 

51 

50 

41 

r 

] 

0 

1 

n 

n 

Kp 

2(11 « 

100.) 

900 

800 

700 

coo 

500 

400 

300 

200 

1(1 

In 

the 

above  list 

of 

numerals 

it  will  be 

seen 

.  that  the 

ones  which  represent  15  and  16  do  not  follow  the  regular 
order,  the  fii-st  being  composed  of  the  characters  for  0  and 
6,  and  the  second,  of  those  for  9  and  7.  This  is  done, 
by  the  Jews,  to  obviate  the  necessity  of  employing,  for  an 
ordinary  purpose,  a  combination  of  letters  which  is  of  the 
most  sacred  meaning. 

COMPOSITION  OF  INTERLINEAR  WORK. 

In  work  of  this  kind,  the  lines  must  be  spaced  so  that 
the  translation  will  be  under  the  centre  of  the  text.  In 
order  to  do  this  correctly  the  compositor  must  set  up  the 
longest  word  or  phrase  in  both  until  the  first  line  is  filled, 
when  it  will  appear  like  : 

Omnes  villages  atque  omnia  buildings,  which  quisque 

The  words  of  the  translation  must  now  be  taken  out,  and 
the  short  words  of  the  text  justified  in  the  centre  of  the 
spaces,  in  the  following  manner  : 

Omnes  vici  atque  omnia  aedificia,  quae  quisque 

.\il  the  villages  and  all  the  buildings,  which  anyone 

When  the  translation  can  be  placed  as  above. 


OB-WORK. 


All  that  has  been  said,  in  the  previous  part  of  this  work, 
has  been  with  reference  to  plain  book-work ;  but ,  there  are 
other  things  with  which  the  compositor  should  be  con¬ 
versant  ;  these  are  the  setting  of :  titles ,  tables ,  columns , 
and  any  other  kind  of  composition  which  is  not  of  the 
kind  herein  before  described. 


TITLE-PAGES. 

When  setting  up  a  title-page ,  it  must  be  done  with 
reference  to  its  appearance  when  printed :  that  is ,  the  lines 
must  be  so  proportioned  to  each  other,  that  no  two  of 
them  will  be  of  the  same  length,  and,  when  it  can  be 
done,  the  lines  should  be  alternately  a  long  and  a  short 
one,  throughout  the  page,  taking  care,  at  the  same  time, 
that  they  do  not  taper  off  into  a  triangular  shape. 

The  faces  of  the  types  used  should  be  uniform ;  that 
is,  if  the  largest  line  be  set  in  condensed  letters,  the  others 
should  be  of  the  same  kind,  and  vice  versa. 

The  sizes  of  letter  used  should  correspond  with  the 
wording  of  the  title  and  the  size  of  page :  the  name  of  the 
work  being  in  the  largest  types,  and,  if  possible,  a  full 
line ;  the  other  lines  being  set  in  types  bearing  relative 
proportion  to  it.  The  catch-lines  should  be  set  in  the 
smallest  types  that  will  print  well :  this  will  allow  the 
other  lines  of  the  page  to  appear  to  more  advantage. 

The  space’s  between  the  lines  should  be  as  wide  as  the 
circumstances  will  admit ;  bearing  in  mind ,  at  the  same 
time,  that  those  closely  connected  in  meaning  must  be 
nearer  together  than  those  which  are  not.  In  a  page  in 
which  the  title  consists  of  a  number  of  lines,  they  must 
be  a  uniform  distance  apart,  without  regard  to  the  catch¬ 
line  which  may  be  between  any  two  of  them. 


86 


PRINTER’S  MANUAL: 


TABLES  OK  COLUMNS. 

This  includes  every  description  of  rule- work,  whether 
the  spaces  between  the  rules  contain  matter  or  not,  and 
comprehends  all  that  is  distinguished  in  the  trade  as :  rule- 
work,  tabular,  or  tables.  This  is  the  most  difficult  kind 
of  composition,  as  it  requires  the  greatest  accuracy,  both 
in  the  length  of  the  ndes  and  the  justification  of  the 
headings  and  columns. 

There  is  a  great  difference  in  the  methods  of  setting 
this  description  of  work ;  but  we  will  only  take  notice  of 
the  one  which,  while  being  as  accurate  as  any  of  the 
others,  consumes  the  least  time.  In  this  system  all  the 
columns  are  set  across,  instead,  as  is  usual,  of  being  set 
down  in  single  columns,  and  the  composing-rule  is  used 
in  the  ordinary  manner.  It  is  applicable  to  any  and  every 
description  of  matter,  and  the  most  complicated  tables  may 
be  set  up,  continued  ou  one  galley,  and  made  up  like 
common  matter.  The  column-rules  being  inserted  after¬ 
ward,  the  pages  can  be  made  up,  whatever  doubles  there 
may  be  in  each  column,  without  the  possibility  of  making 
mistakes  or  cutting  the  rules  into  wrong  lengths. 

The  compositor  must  find  out  how  many  rules  run 
downward,  in  the  table,  and  having  ascertained  this,  he 
will  measme  those  rules  with  quads  and  spaces  of  the  size 
of  types  in  which  the  table  is  to  be  set,  until  he  gets 
the  exact  number.  This  amount  of  blank  is  to  be  used, 
in  the  end  of  each  line,  until  the  table  is  composed,  after 
which  it  is  taken  away,  so  that  the  rules  can  be  inserted 
in  the  {daces  to  which  they  belong. 

If  the  table  be  a  number  of  columns  of  figures,  with 
words  in  the  beginning  of  the  lines,  it  can  be  set  up,  in 
the  stick,  with  one  justification.  The  manner  of  doing  it 
is  as  follows  :  Set  up  the  word  or  words  in  the  first  line, 
and  having  put  quads  or  leaders  in  to  bring  it  near  the 
point  whence  the  figures  should  start;  these  must  then  be 
set  U{r,'and  the  blank  corresponding  to  the  rules  being  {uit 
at  the  end  of  the  line,  it  should  be  spaced  out  by  {jutting 
the  required  amount  in  between  the  words  and  the  first  of 
the  figures.  The  second  and  succeeding  lines  can  be  done 
in  the  same  manner. 


JOB-WORK. 


87 


If  the  table  should  contain  words,  in  more  than  one 
of  the  columns,  each  of  these  will  require  a  separate 
justification;  but,  instead  of  breaking  the  measure  of  a 
composing-stick  for  each  column,  it  is  more  expeditious 
and  less  liable  to  error,  to  set  them  in  the  same  manner 
as  that  recommended  for  figure- work.  Suppose  the  table 
be  fom-  columns ,  each  differing  in  width  from  the  others : 
set  up  the  first  line  of  the  first  column,  and  then  get  a 
piece  of  thick  lead,  and  cut  it  so  that  it  will  occupy  the 
remainder  of  the  measure;  then,  having  taken  out  the 
lead,  set  the  first  line  of  the  second  column,  and  cut  a 
piece  of  lead  to  fit  between  it  and  the  other  end  of  the 
line;  proceed  in  the  same  manner  with  the  first  line  of 
the  third  colxrmn;  and  the  fourth,  together  with  a  space  of 
the  width  of  the  three  rules  which  are  to  run  between  the 
columns,  will  fill  the  remainder  of  the  first  line.  The 
pieces  of  lead  are  to  be  used,  in  the  lines  of  the  table 
which  follow,  the  longest  to  justify  the  first  column  against, 
and  the  others  in  a  similar  manner. 

If  the  table  be  more  than  four  columns  in  width,  it 
must  be  left  to  the  discretion  of  the  workman  into  how 
many  measures  it  should  be  divided.  It  will  be  found 
that  the  more  equally  this  is  done  the  better,  both  for 
convenience  and  expedition.  For  instance,  a  table  of  six 
columns  would  be  better  divided  into  two  measures  of 
three  columns  each,  if  they  be  not  so  wide  as  to  make 
the  measure  inconvenient,  than  into  three  of  two  columns. 
This  would  be  more  simple,  and  therefore  less  liable  to 
mistakes.  If,  however,  the  job  consists  of  ten  or  twelve 
columns  of  matter,  the  whole  or  part  of  which  having  to 
be  justified,  and  which  may  run  over,  at  times,  in  every 
column,  it  will  be  necessary  to  divide  the  job  into  four 
measures,  and  to  empty  the  first  five  or  six  columns  on 
one  galley  and  the  second  on  another.  After  it  is  finished, 
both  parts  should  be  placed  side  by  side,  and  the  lines 
made  to  correspond  with  the  copy,  by  inserting  quad-lines 
in  either  galley,  opposite  any  lines  that  may  have  run 
over  in  the  other;  after  Avhich  the  matter  can  be  made 
up,  either  into  octavo,  to  read  across  two  pages,  or  into 
quarto,  to  read  on  one.  The  rules  may  now  be  put  in, 
by  laying  the  galley  on  the  stone,  and  opening  the  places 
for  them  with  the  blade  of  a  penknife. 


88 


PR  IN  TDK’S  MANUAL  . 


The  space  at  the  ends  of  the  lines  bcin"  taken  oft’,  it 
will  be  found,  when  the  rules  are  inserted,  that  the  table 
is  of  the  exact  width  of  the  measure  which  it  is  intended 
to  fill,  without  reiiuiring  any  justification. 

In  setting  the  heading  of  a  table,  it  should  be  done, 
complete,  with  short  rules,  between  two  cross-rules  of  the 
width  of  the  table,  as  in  page  164.  This  will  make  it 
look  better  than  it  would  if  the  rules  between  the  columns 
were  of  the  full  length  of  the  table,  and  the  separation 
between  the  heading  and  the  other  part  of  the  table  made 
by  using  space-rule  or  metal-dashes,  as  on  jaage  51. 

If  a  table  contain  too  many  columns  for  the  width  of 
the  i^age,  and  it  is  necessary  to  insert  it  in  the  direction 
of  the  length,  it  should  be  imposed  so  as  to  read  from 
the  foot  of  the  page.  The  reason  for  this  is;  that,  when 
tables  are  imposed  in  this  manner,  the  lines  and  pages 
follow  each  other  like  ordinary  matter. 


STEREOTYPING. 

In  setting  up  matter  which  is  to  be  stereotyped,  the 
(piads  and  spaces  tised  are  of  the  bight  of  the  shank  of 
tlie  letter.  A  line  of  bearers  is  put  above  the  head-line, 
to  keeja  it  from  being  battered  when  the  back  of  the  plate 
is  shaved.  Bearers  are  also  put  in  anj’  large  blank  places 
in  the  body  of  the  matter,  for  the  same  purpose.  Bevels, 
the  bight  of  the  insides  of  which  is  equal  to  that  of  the 
shoulder  of  the  types,  are  run  down  both  sides  of  the 
jiages.  The  furniture  and  chases  used,  for  locking  up 
stereotj’pe-forms,  are  lower  than  those  used  for  letter-press, 
being  only  half  an  inch  in  hight. 


ELECTROTYPING. 

The  spaces  and  quads  are  of  the  same  hight  as  for 
stereotyping.  There  are  no  bearers  used  in  setting  up  the 
matter;  instead  of  which,  after  the  bevels  :ue  placed  at 
the  sides  of  the  pages,  a  solid  bearer  is  put  around  each. 
The  furniture  and  chases  need  not  be  lower  than  the  kinds 
in  common  use. 


NEWSPAPEES. 


The  following  description  of  the  method  of  getting  out 
an  issue  of  the  London  Times  is  given,  because  it  is 
pinted  on  small  types,  and  contains  more  matter  than 
any  other  daily  paper  in  existence,  and  as  a  consequence 
requires  and  employs  more  people  to  prepare  it  for  publica¬ 
tion  ;  beside  these ,  it  has  the  reputation  of  being  the  most 
methodic  in  the  arrangement  of  its  matter  and  the  perform¬ 
ance  of  the  work. 

“The  compositors  emploj^ed  to  compose  this  great  mass 
of  intelligence  ■  day  by  day,  and  every  day  throughout  the 
year,  Saturdays  excepted,  there  being  no  publication  on 
Sundays ,  are  seventy-five ,  who  are  divided  into  two  classes : 
viz.,  the  night-  or  news-hands,  and  the  advertisement- 
hands.  The  first  class  consists  of  thirty-nine,  who  are 
divided  into  full  hands,  fourteen;  supernumeraries,  ten; 
assistants,  fifteen;  to  these  may  be  added  ten  ‘outsiders,’ 
who  fill  the  frames  of  absentees  in  case  of  sickness,  or 
from  other  causes :  they  are  not  considered  as  belonging  to 
the  establishment,  inasmuch  as  they  hold  no  situation, 
and  are  consequently  dependent  upon  the  workmen.  The 
advertisement  department  consists  of  thirty-six  hands. 

“As  it  is  desirable  not  to  have  to  distribute  letter  after 
copy  is  taken,  the  compositors  usually  put  their  letter  in 
after  all  the  composing  is  completed,  or  take  the  oppor¬ 
tunity  when  waiting  for  cojw,  to  be  ready  for  the  evening, 
or  else  they  attend  sooner  in  the  afternoon  than  the  usual 
hour  for  that  purpose. 

“The  full  hands  take  copy  at  six  o’clock  in  the  even¬ 
ing,  precisely,  and  go  on  without  regard  to  the  old  rule 
of  first  work  and  finish,  and  the  day’s  w’ork  is  considered 
to  be  completed  at  the  expiration  of  eleven  hours,  five 
o’clock  in  the  morning;  if  engaged  after  that  time  all 
hands  are  paid  by  the  liour,  the  printer  never  availing 
himself  of  the  choice  of  beginning  an  hour  later  on  account 
8 


90 


PRINTER’S  MANUAL; 


of  the  lateness  of  the  preceding  morning.  The  full  hands 
are  expected  to  compose  two  galleys  each  per  night,  and 
all  over-lines  are  paid  for  extra,  even  though  they  be 
composed  within  the  time  prescribed  by  the  rules  laid 
down  for  the  guidance  of  compositors. 

“The  supernumeraries  are  expected  to  compose  one 
galley  each  per  night,  and  all  over-lines  are  paid  for  extra, 
the  same  as  with  the  full  hands. 

“  'f he  full  hands  have  each  three  pairs  of  cases  —  non¬ 
pareil,  minion,  and  bourgeois;  and  as  the  matter  which  is 
the  most  advantageous  is  generallv  set  in  the  smaller  type, 
they  claim  the  benetit  of  it  as  an  equivalent  for  the  labor 
of  putting  the  forms  to  the  machine. 

“The  supernumeraries  and  assistants  take  copy  at  seven 
o’clock  in  the  evening,  and  continue  to  work  until  all  is 
composed;  and  should  there  be  any  standing  still  for  want 
of  copy,  they  are  allowed  at  the  rate  of  a  quarter  of  a 
galley  per  hour  for  all  time  they  may  have  lost  during 
the  night.  The  assistants  have  no  stated  salary,  but  are 
paid  by  the  galley,  and  share  the  same  advantages  as  the 
supernumeraries,  no  distinction  being  made  in  the  giving 
out  of  the  copy. 

“The  compositors  in  the  news-department  have  the 
privilege  of  comjDosing  a  considerable  quantity  of  extra 
or  ‘back’  matter,  to  enable  the  printer  to  have,  at  all 
times,  a  resource  in  case  of  accident.  This  extra  copy  is 
given  out  and  divided  into  half-galley  shares,  and  taken  in 
rotation ;  thus  preventing  monopol}’  and  favoritism . 

“As  there  is  an  immense  quantity  of  letter  in  use,  the 
division  of  which  for  distribution  would  occasion  loss  of 
time,  and  frequent  disputes,  the  companionship  pays  a  man 
to  lay  iqi  the  forms,  mark  the  letter  off  for  each  person, 
and  distribute  the  useless  heads.  He  is  also  answerable 
for  the  clearance  of  the  boards. 

“Each  compositor  has  a  number  attached  to  his  frame, 
and,  when  he  takes  copy,  his  number  is  placed  on  the 
back  of  the  copy,  so  that  each  man’s  matter  is  identified 
immediately,  and  in  case  of  a  foul  proof,  or  an  out  that 
will  occasion  much  trouble,  it  is  immediately  handed  to 
him  who  composed  it  ivithout  further  inquiry,  which  pre¬ 
vents  exposure  and  annoyance  to  the  individual .  The 
copy  is  also  marked  with  progressive  numbers,  which 


N  E  W  S  P  A  P  E  E  S  . 


91 


prevents  confusion  by  enabling  the  compositor  to  know, 
with  certainty,  whom  he  follows  in  his  composing,  and 
to  empty  his  stick  in  the  proper  galley  so  as  to  join  the 
preceding  matter. 

“As  the  types  are  composed,  they  are  taken,  a  galley 
at  a  time ,  by  the  printer ,  and  made  up  into  columns ;  a 
proof  of  the  column  is  then  pulled,  upon  the  galley,  by 
one  of  the  compositors,  who  all  take  it  in  turn;  it  is  given 
to  the  reader;  after  being  attentively  read  and  corrected, 
it  is  returned  to  the  compositors  to  make  the  corrections, 
who  take  it  in  turn,  two  and  two;  the  column  is  divided 
into  four,  the  first  compositor  takes  the  first  and  third 
i:)arts,  and  the  second  takes  the  second  and  fourth  parts, 
and  he  who  is  the  last  in  making  his  corrections,  pulls  a 
second  proof,  which  is  carefully  revised,  and  when  the 
revise  is  corrected  the  matter  is  ready  for  the  paper.  It 
thus  goes  on,  column  after  column,  until  the  whole  paper 
is  composed,  when  it  often  occurs  that  the  arrival  of  for¬ 
eign  intelligence  increases  the  quantity  considerably;  matter 
of  less  immediate  interest  is,  in  this  instance,  taken  away, 
and  kept  as  back-matter  for  a  future  day,  to  make  room 
for  the  latest  intelligence. 

“If  the  first  compositor  has  six  or  more  lines  to  com¬ 
pose,  of  copy  that  he  has  in  hand,  he  must  give  it  up, 
and  begin  to  correct  immediately ;  but  if  he  has  less  than 
six  lines  of  copy  in  hand,  he  finishes  it  before  he  com¬ 
mences  correcting.  This  regulation  is  adopted  to  prevent 
any  interruption  or  delay  in  the  progress  of  getting  the 
paper  out. 

“The  full  hands  take  it  in  turn  to  correct  the  revises, 
lock  up  the  forms,  and  take  them  to  the  machines  to  be 
worked  off. 

“The  advertisement-department  is  not  regulated  after 
the  same  manner  as  the  news-department,  there  being  no 
distinction  of  grades,  nor  any  fixed  salaries,  nor  is  there 
any  precise  time  of  commencing  work,  the  uncertainty  as 
to  the  time  of  advertisements  being  received  at  the  office 
rendering  it  an  impossibility  to  appoint  any  regular  hour 
for  beginning.  The  compositors  are  paid  by  the  galley, 
not  according  to  the  scale  of  prices  fixed  for  morning 
papers,  but  more  after  the  scale  of  evening  papers.  The 
method  adopted  in  this  part  of  the  establishment,  in  taking 


92 


PRINTER’S  MANUAL. 


copy,  is  the  same  as  in  other  offices,  the  first  out  of  copy 
taking  first,  and  so  on,  and  as  the  compositors  get  out  of 
copy  their  numhers  are  placed  on  a  slate,  which  prevents 
disputes  or  confusion.  The  compositor  marks  his  copy  bj- 
putting  his  initials  on  the  back  of  it;  so  that  if  any  gross 
error  he  committed,  and  remain  uncorrected  —  a  vTong  num¬ 
ber  in  a  reference ,  for  instance  —  it  can  immediately  be 
ascertained  who  composed  it;  and  either  the  reader  or  the 
compositor  is  held  responsible  for  the  advertisement-duty, 
the  proof  deciding  which  is  to  pay  the  fine  for  negligence. 

“The  salary  of  a  full  hand  is  £2  8s  per  week,  hut 
the  average  earnings  are  £3  12s  6d;  the  salary  of  a  super¬ 
numerary  is  £1  3s  per  week,  and  the  average  earnings  are 
£3.  It  often  happens  that  much  higher  hills  are  written, 
hut  the  above  may  be  taken  as  a  fair  average. 

“The  whole  establishment  of  the  Times  newspaper, 
including  editors,  reporters,  compositors,  readers,  engineers, 
overseers  of  the  machines,  persons  to  lay  on,  and  to  take 
off,  clerks,  etc.,  consists  of  one  hundred  and  thirty-seven 
persons .” 

In  the  United  States,  the  manner  of  getting  out  daily 
papers  is  somewhat  different.  The  compositors  usually  have 
a  ])air  of  cases  of  each  kind  of  types  used  on  the  jjaper, 
and  take  the  copy  as  it  comes  from  the  hook,  they 
not  being  divided  into  advertisement-  and  news-hands,  nor 
day-  and  night-hands. 

Instead  of  the  stands  being  numbered,  each  compositor 
is  furnished  with  slugs  of  the  width  of  a  column  of 
the  paper,  on  which  letters  or  numhers  are  cast,  of  tlie 
same  hight-to-paper  as  the  tyj^es.  One  of  them  is  put 
into  the  composing-stick  at  the  head  of  each  take  of  copy 
which  the  compositor  may  set  up  during  the  day,  so  that 
he  can  see,  when  the  galley  is  passed  to  him,  which  parts 
of  the  matter  belongs  to  him.  Before  a  compositor  gives 
the  galley  to  the  one  whose  take  comes  next,  he  takes 
out  Ids  slugs ;  the  whole  of  them  being  removed  shows 
that  the  galley  is  corrected. 

In  daily  papers  published  in  this  country  the  composi¬ 
tors  have  nothing  to  do  with  the  taking  of  the  proofs,  it 
being  the  business  of  the  foreman  or  Ids  assistant  to  fill 
out  short  galleys,  and,  after  having  pulled  an  impression, 
to  put  them  where  they  will  be  readily  found  when  wanted . 


IMPOSING. 


This  division  will  contain  all  that  is  required  to  he  known 
regarding  Imposing  forms,  Making  margin,  Cutting  furni¬ 
ture,  and  Locking  up  the  form. 

IMPOSING  FORMS. 

There  is  a  number  of  ways  in  which  a  sheet  of  paper 
can  be  folded  so  that  the  pages  will  follow  each  other  in 
regular  order:  that  is,  a  sheet  of  twenty- four  pages  can  be 
folded  six  ways ;  a  sheet  of  sixteen ,  four ;  a  sheet  of 
twelve;  three;  and  a  sheet  of  eight,  two  ways  —  being 
a  method  for  each  four  pages  in  a  form. 

As  the  imposition  of  irregular  forms,  such  as  20s,  40s, 
and  forms  the  hebrew  way ,  generally  occupies  a  large  num¬ 
ber  of  pages  in  works  of  this  class,  and  are  of  very  little 
practical  use  to  the  printer,  they  are  left  out,  and  in  their 
stead  has  been  inserted  the  different  methods  of  imposing 
foims  inside  out,  which  will  be  gone  into  more  fully  than 
has  been  done  in  any  preceding  Typographia. 

After  the  pages  are  laid  on  the  stone,  and  before  the 
twine  is  taken  off,  the  folios  should  be  examined,  and  if 
the  odd  and  even  pages  which  lie  next  to  each  other,  on 
each  side  of  the  back-margin,  make  one  more  than  the 
number  of  pages  in  a  form,  they  are  laid  correctly. 

In  laying  the  pages  on  the  stone,  the  compositor  must 
he  mindful  of  the  fact,  that  the  first  page  of  the  form 
should  always  be  laid  with  the  foot  toward’  ham,  in  the 
nearer  left-hand  corner  of  the  quarter  of  the  chase  in  which 
it  may  be  placed.' 

In  the  forms  laid  according  to  the  following  plans,  it 
must  be  borne  in  mind  that  the  folios  there  represented  are 
in  the  position  in  which  they  will  ajipear  in  the  types  wlien 
on  the  imposing-stone. 


94 


PRINTER’S  MANUAL  : 


rs 


SHEET  OF  FOLIO:  OUTER  FORM. 


90 


PllINTER’S  MANUAL  ; 


II.  — SHEET  OF  QUARTO:  OUTER  FORM. 


II.  — SHEET  OF  QUAKTO:  INNER  FORM. 


I  BI  POSING. 


97 


9 


98 


PRINTER’S  MANUAL  : 


III.  — HALF  SHEET  OF  QUARTO. 


IT.  — HALS'  SHEET  OS  QUARTO,  OBLONG. 


IMPOSING 


99 


luo 


rilINTEH’S  MANUAL  : 


SHEET  OF  OCTAVO:  OUTER  FORM 


SHEET  OF  OCTAVO:  INNER  FORM 


IMPOSING, 


101 


102 


PRINTER’S  MANUAL  : 


HALF  SHEET  OF  OCTAVO 


VII.  — HALF  SHEET  OF  OCTAVO,  INSIDE  OUT 


104 


PRINTER’S  MANUAL  : 


There  are  several  ways  of  imposing  a  sheet  of  Twelves, 
such  as:  Three  sheets  of  Fours,  a  sheet  of  Twelves  to 
fold  without  cutting,  and  a  sheet  of  Long  Twelves;  but, 
the  most  simple  form  only  will  be  given,  as  the  pressman 
can,  in  all  other  cases,  fold  a  sheet  of  paper  so  that  the 
jiagcs  of  types  will  follow  each  other. 

lly  imposing  a  sheet  of  Twelves  according  to  the  above 
plan ,  the  signature  of  the  offcut  being  in  the  inner  form , 


Tin.  — SHEET  OF  TWELVES:  OUTER  FORM. 


VIII.  — SHEET  OF  TWELVES:  INNER  FORM 


IMPOSING. 


105 


I 

I 


will  rise'  more  conveniently  for  the  hinder  when  folding, 
and  save  him  the  trouble  of  turning  the  oifcut  over  for 
every  sheet . 

As  it  very  often  happens  that  hooks  printed  in  Twelves 
are  injured  in  appearance,  because  there  is  not  enough  of 
space  left  at  the  offcut,  the  attention  of  the  person  who 
makes  up  the  form  is  called  to  what  is  given ,  in  regard 
to  this  subject,  at  page  125. 


106 


PRINTER’S  MANUAL  : 


M 

X 


.1 

i 


A  half  sheet  of  Twelves  may  he  made  to  fold  without 
cutting,  by  turning  the  offcut  around  in  the  chase,  in  the 
relative  position  which  the  pages  hold  to  each  other,  so 
that  the  folios  will  be  toward  the  outer  edge  of  the  paper. 
When  a  form  is  worked  in  this  manner,  the  space  at  the 
ofl'cut  must  be  twice  that  of  the  foot-margin;  and  the 
headings  must  lie  worked  to  a  gauge,  so  as  to  make  the 
blank  at  that  edge  equal  to  half  of  that  at  the  bolts. 


HALF  SHEET  OF  TWELVES 


HALF  SHEET  OF  TWELVES,  INSIDE  OUT 


IMPOSING. 


107 


A  periodical  which  has  a  large  page  may  be  worked 
as  an  outer  and  inner  form  of  Sixes  by  making  up ,  in 
separate  chases,  the  pages  which  are  on  each  side  of  the 
long-cross,  in  a  half  sheet  of  Twelves. 

When  a  form  is  not  pointed  in  the  short-cross,  there 
should  be  a  couple  of  pieces  of  rule  inserted  at  the  place 
where  the  paper  should  be  cut,  to  enable  the  folder  to  do 
so  with  as  little  trouble  as  possible. 


108- 


PRINTER’S  MANUAL 


XI.  — SHEET  OF  SIXTEENS:  OUTER  FORM 


SHEET  OF  SIXTEENS:  INNER  FORM. 


IMPOSING 


ao9 


110 


PRINTEK’S  MANUAL 


XII.  — HALF  SHEET  OF  SIXTEENS 


Ly  SHEET  OF  SIXTEENS,  INSIDE  OUT 


.IMFOSINOw 


II 

E 

Z 

112 


PlllNXKK’S  MANUAL  : 


XIV.  — HALF  SHEET  OF  SIXTEENS,  INSIDE  OUT 


XT.  — HALF  SHEET  OF  SIXTEENS,  INSIDE  OUT  — No. 


IMPOSING. 


113 


10 


114 


PRINTER’S  MANUAL: 


XVI.  —  SHEET  OF  EIG II TEENS:  OUTER  FORM  —  No. 


XVI.  — SHEET  OE  EIGHTEENS:  INNER  FORM  — No 


IMPOSING 


115 


IIG 


PUINTER’S  MANUAL  : 


XVII.  — SHEET  OF  El G II TEENS:  OUTER  FORM 


XVII.  — SHEET  OF  EIGHTEENS:  INNER  FORM  — No. 


IMPOSING. 


117 


118 


PRINTER’S  MANUAL  : 


XVIII.  — SHEET  OF  T  W  E  N  T  Y  -  F  0  U  R  S  :  OUTER  FORM. 


XVIII.  — SHEET  OF  T WE N T Y -FOU R S  :  INNER  FORM 


IMPOSING  . 


119 


120 


PKIN  TEH’S  MANUAL  : 


XIX.  — HALF  SHEET  OF  T  W  E  N  T  Y  -  F  0  U  K  S— N  0  . 


XX.  — HALF  SHEET  OF  T W E N T Y -F OU R S  — N o . 


IMPOSING. 


121 


11 


122 


PKINTEK’S  MANUAL  ; 


XXI.  — HALF  SHEEX  OF  T  E  N 1  Y  -  f  0  U  R  S  — N  o . 


XXII.  — HALF  SHEET  OF  T WEN T Y -FOU R S ,  INSIDE  OUT 


IMPOSING. 


123 


124 


1>  It  I  N  T  K  11  ’  S  M  A  N  U  A  I> 


XXIII.  — SIIKKT  OF  TIIIllTY-TWOS  :  OUTER  FORM  — No 


XXIII.  — SHEET  OF  THIHTY-TWOS  :  INNER  FORM  — No 


IMPOSING 


125 


126 


PRINTER’S  MANUAL 


<« 


XXIV.  — SHEET  OF  THIRTY-TWOS;  OUTER  FORM  — No 


XXIV.— SHEET  OE  THIRTY-TWOS:  INNER  FORM  — No. 


IMPOSING 


127 


128 


PRINTER’S  MANUAL 


XXV.  — HALF  SHEET  OF  THIRTY-TWOS 


XXVI.  — HALF  SHEET  OF  THIRTY-TWOS,  INSIDE  OUT. 


IMPOSING.  129 


130 


P  11  INTER’S  MANUAL; 


XXVII.  — SHEET  OE  T II I  U  T  Y -S I X  E  S  :  OUTER  FORM  — No. 


XXVII.  — SHEET  OF  THIRTY-SIXES:  INNER  FORM  — No 


IMPOSING 


131 


XXVIII.— SHEET  OF  T  H I R  T  V  -  S IX  E  S  :  OUTER  FORM  — No 


XXVIII.  — SHEET  OF  T  H I RT  Y  -  SI  XE  S  :  INNER  FORM  — No 


IMPOSING 


1.33 


134 


PRINTER’S  MANUAL  : 


XXIX.  — HALF  SHEET  OF  T  H I RT  Y  -  S I X  E  S  —  N  o . 


XXX.  — HALF  SHEET  OF  T H IRT Y - S IX E S  —  N o 


IMPOSING 


135 


136 


P 11  INTER’S  MANUAL: 


XXXI.  — SHEET  OF  F  0  R  T  Y  -  E I G  H  T  S  :  OUTER  FORM. 


XXXI.— SHEET  OF  FO E T Y - E I GH T S  :  INNEK  FORM 


I 


IMPOSING.  137 


12 


138 


PRINTER’S  MANUAL  : 


XXXII.  — HALF  SHEET  OF  F  0  RT  Y  -  E I G  H  T  S  — N  o 


XXXIII.  — HALF  SHEET  OP  POETY-EIQHTS  — No. 


IMPOSING 


'139 


140 


PRINTER’S  MANUAL  : 


XXXIV.  — HALF  SHEET  OF  ONE  HUNDRED  AND  T  W  E  N  T  Y  -  E  I G  H  T  S 


IMPOSING. 


141 


The  following  is  a  list  of  the  forms  laid  down  in  the  pre¬ 
ceding  pages,  with  explanations  of  the  purposes  for  which 
they  are  designed  : 

FOLIO. 


I.  —  Outer  and  Inner  Forms  of  a  Sheet  of  t  94 
Folio,  (  95 

The  method  of  laying  the  pages  for  any  number  of 
sheets  under  eight  is  given ,  so  that  they  can 
be  laid  with  the  same  ease  as  they  would  were 
Impositions  given  for  every  sheet. 

- QUARTO.^ 


II. -—Outer  and  Inner  Forms  of  a  Sheet  of 
Quarto , 

III.  —  Half  Sheet  of  Quarto , 

IV.  —  Half  Sheet  of  Quarto,  oblong, 

OCTATO.— 

Outer  and  Inner  Forms  of  a  Sheet  of 
Octavo , 

VI.  —  Half  Sheet  of  Octavo , 

VII.  —  Half  Sheet  of  Octavo,  inside  out, 


96 

97 

98 

99 


loa 
101 1' 
102  Y 
103/ 


TWELVES. 


VIII.  —  Outer  and  Inner  Forms  of  a  Sheet  of  ^  104 
Twelves,  X  105 

IX. —  Half  Sheet  of  Twelves,  106 

X. —  Half  Sheet  of  Twelves,  inside  out,  107 


SIXTEENS.— 

XL —  Outer  and  Inner  Forms  of  a  Sheet  of  <  108 
Sixteens,  }  109 

XII.  —  Half  Sheet  of  Sixteens ,  1 10 

XIII.  —  Half  Sheet  of  Sixteens,  inside  out.  No.  1,  111 

XIV.  —  Half  Sheet  of  Sixteens,  inside  out.  No.  2,  112 

XV. —  Half  Sheet  of  Sixteens,  inside  out.  No.  3,  113 

The  above  modes  of  laying  a  “  Half  Sheet  of  Six¬ 
teens  ”  are  given ,  because  that  is  the  number 
generally  worked  in  a  form  at  present .  If 
a  cut  or  open  work  of  any  kind  fall  on  any 
page ,  that  page  can  always  be  laid  in  the  cen¬ 
tre  of  the  form  by  using  one  of  the  above 
impositions . 


‘ 


142 


PRINTER’S  MANUAL  : 


EIG II  TEENS. 

XVI.  —  Outer  and  Inner  Forms  of  a  Sheet  of  ^  114 

Eighteens,  No.  1,  ^11.5 

Two  Signatures  =  A  Sheet  of  Twelves,  and  a  Half 
Sheet  of  Twelves. 

XVII.  —  Outer  and  Inner  Forms  of  a  Sheet  of  ^  116 

Eighteens,  No.  2,  <  117 

Three  Signatures  =  Three  Half  Sheets  of  Twelves . 

TWENTY-FOURS. 

XVIII.  —  Outer  and  Inner  Forms  of  a  Sheet  of  ^  118 

Twenty-Fours,  (  119 

Two  Signatures  =  Two  Sheets  of  Twelves. 

XIX. —  Half  Sheet  of  Twenty-Fours,  No.  1,  120 

This  is  the  usual  method  of  laying  a  Halt  Sheet 
of  Twenty-Foui-s  :  that  is.  Sixteen  pages,  and 
an  inset  of  Eight. 

XX. —  Half  Sheet  of  Twenty-Fours,  No.  2,  121 

Two  Signatures  =  The  first,  Sixteen,  and  the  sec¬ 
ond,  Eight  pages. 

XXL — Half  Sheet  of  Twenty-Fours,  No.  3,  122 

Three  Signatures ,  of  Eight  pages  each . 

XXII.  —  Half  Sheet  of  Twenty-Fours,  inside  out,  123 

Sixteen  pages,  with  an  inset  of  Eight. 

T  II I  R  T  Y  -  T  W  O  S . 

XXIII. —  Outer  and  Inner  Forms  of  a  Sheet  of  ^124 
Thirty-Twos,  No.  1,  <125 

Four  Signatures,  of  Sixteen  pages  each. 

XXIV. —  Outer  and  Inner  Forms  of  a  Sheet  of  <126 
Thirty-Twos,  No.  2,  (127 

One  Signature  .  This  method  of  folding  a  Sheet  of 
Thirty-Twos  will  lie  found  convenient  for  such 
work  as:  almanacs,  primers,  tracts,  and  other 
tempomry  publications,  as  the  sixty-four  pages 
can  be  folded  together  and  stitched  through 
the  back  ;  but,  for  all  regular  book-work,  No. 

XXIII.  is  better. 

XXV.— Half  Sheet  of  Thirty-Twos,  128 

One  Signature. 


IMPOSING.  ]43 

XXVI. —  Half  Sheet  of  Thirty-Twos,  inside  out,  129 

One  Signature. 

THIRTY-SIXES. 

XXVII. —  Outer  and  Inner  Forms  of  a  Sheet  of  ^  130 
Thirty-Sixes;  No.  1,  (  131 

Three  Signatures,  of  Twenty-Four  pages  each. 

XXVIII. —  Outer  and  Inner  Forms  of  a  Sheet  of  <  132 
Thirty-Sixes,  No.  2,  ^  133 

Six  Signatures ,  of  Twelve  pages  each . 

XXIX.  —  Half  Sheet  of  Thirty-Sixes,  No.  1,  134 

Three  Signatures ,  of  Twelve  pages  each . 

XXX. —  Half  Sheet  of  Thirty-Sixes,  No.  2,  135 

Two  Signatures  =  A  Sheet  of  Twenty-Fours ,  and 
a  Sheet  of  Twelves. 

FORTY-EIGHTS. 

XXXI.  —  Outer  and  Inner  Forms  of  a  Sheet  of  (  136 
Forty- Eights ,  (  137 

Six  Signature ,  of  Sixteen  pages  each . 

XXXII.  —  Half  Sheet  of  Forty-Eights ,  No.  1 ,  138 

Three  Signatures,  of  Sixteen  pages  each. 

XXXIII.  “  Half  Sheet  of  Forty-Eights,  No.  2,  139 

Two  Signature.s ,  of  Twenty-Four  pages  each . 


The  forms  above  Forty-Eights  may  he  made  up 
according  to  the  manner  indicated  below  : 

Half  Sheet  of  Sixty-Fours  =  Outer  and  Inner  Forms  of  a 
Sheet  of  Thirty-Twos ,  pages 
100  and  101 ,  or  102  and  103 . 
Half  Sheet  of  Seventy-Twos  =  Outer  and  Inner  Forms  of  a 
Sheet  of  Thirty-Sixes ,  pages 
1C6  and  107 ,  or  108  and  109 . 
Half  Sheet  of  Ninety-Sixes  =  Outer  and  Inner  Fonns  of  a 
Sheet  of  Forty-Eights ,  pages 
112  and  113 . 


ONE  HUNDRED  AND  T  W  E N  T  Y -E I GHT  S  . 

XXXIV. —  Half  Sheet  of  One  Hundred  and  Twenty-  ? 

Eights,  S 

Eight  Signatures ,  of  Sixteen  pages  each . 


144 


PRINTER’S  MANUAL  : 


MAKING  MAE  GIN. 

When  the  gutter  is  mentioned  in  the  following  pages, 
it  designates  the  piece  of  furniture  which  separates  two 
adjoining  pages  in  a  chase:  as,  in  an  octavo,  that  between 
pages  1  and  16;  and,  in  a  duodecimo,  that  between  pages 
1  and  24,  and  so  on.  The  pieces  which  are  put  at  the 
sides  of  the  pages,  next  the  cross,  are  called  backs;  and 
those  at  the  tops  of  the  pages  are  called  heads  or  bolts. 

Making  margin  is  the  apportioning  of  the  proper  dis¬ 
tances  between  the  pages  of  a  sheet  or  form . 

d’his  is  a  most  material  object  in  book-work;  for,  if 
it  be  not  properly  done ,  tlie  appearance  of  the  book ,  when 
lx)und,  will  be  injured;  as  the  binder  will  be  obliged  either 
to  reduce  the  size  of  the  book,  in  order  to  make  the  edges 
smooth,  or  leave  manj^  edges  untrimmed. 

Convenience  and  custom  have  familiarized  us  to  the 
printed  page  being  a  little  bigher  than  the  middle  of  the 
leaf,  and  to  its  having  a  little  more  margin  at  the  fore¬ 
part  than  in  the  back ;  but  the  spaces  between  the  pages 
should  be  such,  that,  when  the  book  is  bound  and  cut, 
the  page  of  printing  —  that  is,  the  reading-matter,  without 
regarding  the  head-line  —  should  be  made  to  appear  exactly 
in  the  middle  of  the  page  of  paper. 

The  first  of  these  circumstances  may  Ire  accounted  for, 
by  the  head,  in  all  sizes  except  folio,  being  at  the  fold  of 
the  paper,  which  admits  of  the  bookbinder  cutting  it  smooth 
by  taking  oft’  a  very  narrow  shaving,  so  as  to  reduce  the 
size  but  a  mere  trille;  while  the  bottom  of  tbe  page  lying 
toward  the  raw  edge  of  the  paper,  which  is  irregular,  and 
which  often  varies  considerably  because  it  is  cut  crookedly  — 
machine-made  paper  also  varies  greatly  in  the  size  of  the 
sheets ,  being  cut  up  irregularly ;  and  paper  made  at  differ¬ 
ent  times,  and  by  different  makers,  which  is  often  used  in 
the  same  volume,  and  which  likewise  varies  in  size  —  all 
combined,  render  it  necessarj^  to  allow  a  little  more  margin 
at  the  foot  of  the  page  and  at  the  front  than  at  the  head 
and  in  the  back ;  for  these  variations  in  the  paper  equally 
aft’ect  the  front  and  the  foot ;  but  the  head ,  the  back ,  and 
the  gutter,  being  folded,  remain  the  same,  however  much 
the  paper  may  vary. 


IMPOSING. 


145 


It  is  always  presumed  that  the  backing  of  the  book, 
in  binding,  takes  up  as  much  of  the  margin  as  is  cut  off 
the  fore-edge,  so  as  to  make  them  both  equal. 

Having  premised  these  explanatory  observations,  we  shall 
proceed  to  describe  the  manner  of  ascertaining  the  proper 
spaces  between  the  pages,  for  the  different  sizes  of  books, 
in  the  simplest  manner  that  is  known,  and  as  it  is  now 
generally  practiced ;  for  the  division  of  the  margin  by  com¬ 
passes  is  obsolete. 

To  facilitate  the  operation,  it  will  be  necessary  to  bear 
in  mind  the  observation  that,  “when  we  arrive  at  a  great 
number  of  pages  in  a  sheet,  they  resolve  themselves  into 
the  same  order  as  quartos,  octavos,  and  duodecimos,”  as  a 
recollection  of  this  will  tend  to  simplify  the  process,  and, 
if  the  person  who  has  the  imposing  of  the  form  be  not 
experienced,  it  may  prevent  him  from  getting  confused,  by 
keeping  him  to  a  small  portion  of  the  form,  instead  of 
leaving  him  to  attempt  doing  all  at  once. 

After  the  pages  have  been  laid  upon  the  imposing-stone, 
and  the  chases  put  over  them,  the  first  thing  to  be  done 
is  to  get  a  sheet  of  the  paper  of  the  work,  wet,  and  to 
fold  it  as  exactly  as  possible  to  the  size  in  which  the  work 
is  intended  to  be  printed  j 

If  the  paper  for  the  work  has  not  been  sent  in,  then 
a  sheet  of  the  same  size  may  be  taken  from  the  paper  of 
some  other  work  that  is  in  progress,  which  will  be  found 
to  be  sufficiently  near,  inasmuch  as  a  lead  or  two  in  the 
backs  and  heads,  more  or  less,  vdll  make  it  right;  or,  the 
first  sheet  may  be  imposed  temporarily  with  furniture  from 
the  drawer. 

It  must  be  remembered  by  the  compositor,  or  person 
whose  turn  it  is  to  make  up  the  form ,  that  the  furniture 
must  never  be  cut  until  he  is  sure  of  the  distance  required 
between  the  pages. 

To  ascertain  this  distance,  take  short  pieces  of  furni¬ 
ture  out  of  the  drawer,  or  quotations,  or  both,  and  quadrats 
or  reglet,  to  fill  up  the  interspace  between  two  pages; 
then  push  the  pages  up  close  to  them,  and  when  you  have 
got  the  right  distance  between  the  pages,  you  can  ascertain 
what  furniture  will  be  of  the  exact  width,  by  trying  the 
ends  of  different  pieces,  alwaj’’s  measuring  from  the  edges 
of  the  tvpes  themselves,  and  not  within  the  page-cords. 

13 


146 


PKINTEK’S  MANUAL; 


We  will  now  proceed  ■with  making  margin,  commencing 
with  folio ,  and  going  through  the  various  sizes  —  at  least 
through  as  many  as  may  be  necessary  to  make  the  subject 
as  plain  as  possible  : 

roLio. 

Having  folded  a  sheet  of  the  intended  paper  exactly 
in  the  middle,  place  the  edge  of  the  paper  even  with  the 
outer-edge  of  the  first  page,  and  move  the  adjoining  page 
toward  it  until  the  fold  of  the  paper  will  lie  about  half  an 
inch  upon  it,  when  the  folded  sheet  is  laid  upon  the  face 
of  the  first  page ;  the  space  between  the  pages  on  either 
side  of  the  cross  is  then  to  be  filled  up  with  furniture, 
using  one  piece  only  on  each  side,  where  it  is  practicable, 
and  where  there  is  no  reason  to  the  contrary,  in  order  to 
prevent  mistakes  in  reimposing.  This  space,  with  one  or 
two  leads  in  addition  on  each  side  of  the  cross,  which  are 
to  assist  in  making  register  at  press,  will  be  sufficiently 
near  for  a  medium-folio,  where  the  page  is  of  a  fair  dimen¬ 
sion  ;  but,  if  the  page  be  very  large,  or  if  it  be  a  smaller 
sized  paper  than  medium ,  the  back  fold  of  the  paper  should 
not  be  allowed  to  lie  quite  so  much  over  the  adjoining 
page,  but  should  be  lessened  in  proportion  to  the  size  of 
the  page  or  paper.  If  it  be  very  large  paper  and  a  corres¬ 
ponding  margin,  it  would  be  well  to  allow  a  little  more  in 
proportion;  for,  it  is  to  be  observed,  that  the  more  the 
fold  of  the  paper  lies  over  the  edge  of  the  adjoining  page, 
the  more  margin  is  given  at  the  fore-edge  than  in  the  back. 

The  margin  for  the  head  of  a  folio  is  arranged  at  the 
printing-press . 

After  the  leads  have  been  put  in,  the  page-cords  taken 
off,  and  the  pages  jnished  up  close  to  the  furniture,  you 
should  try  it  again,  to  see  that  it  is  correct.  It  is  a  good 
plan  to  take  a  slip  of  paper,  and  cut  it  to  a  length  equal 
to  the  width  of  the  back,  then  to  fold  it  even  in  the  mid¬ 
dle  so  as  to  make  a  distinct  crease,  to  open  it  again  and 
lay  it  in  the  back,  so  that  the  crease  shall  be  exactly  in 
the  middle  of  the  back ;  then  to  open  out  the  sheet  of 
paper,  and  lay  it  upon  the  form,  with  the  crease  in  its 
middle  upon  the  crease  in  the  slip  of  paper;  the  margin 
in  the  back  may  then  be  compared  with  the  margin  in 


IMPOSING. 


147 


the  fore-edge  as  well  as  if  the  sheet  were  printed ,  and  it 
may  be  altered,  if  thought  necessary,  by  putting  in,  or 
taking  out,  a  lead. 

If  two  jobs,  that  are  to  be  cut,  are  worked  together, 
it  is  usual  to  impose  them  so  that  the  margin  shall  be 
equal  on  both  sides.  To  effect  this,  fold  the  paper  exactly 
in  the  middle,  and,  laying  it  folded  on  the  left-hand  page, 
with  the  edge  of  the  paper  even  with  the  edge  of  the 
page  of  types ,  bring  the  other  page  tow’ard  it  until  the 
left-hand  side  fairly  touches  the  fold  of  the  paper.  This 
is  termed  being  out  and  out;  and  when  the  paper  is  cut 

evenly  in  tw'o,  after  having  been  printed,  the  side-margins 

will  be  found  to  be  equal. 

-  QUARTO.-.^ 

Fold  a  sheet  of  paper  exactly  in  quarto;  then  lay  it, 
thus  folded,  upon  the  first  page,  the  fore-edge  of  the  paper 
being  even  with  the  left-hand  edge  of  the  types ;  bring  the 
adjoining  page  toward  the  first  page  until  the  fold  in  the 
paper  lies  upon  the  left-hand  side  of  it,  about  as  much  as 
a  2-line  pica  body :  this  will  make  the  back  as  nearly 

correct  as  it  is  possible  to  make  it.  Then  place  the  lower- 

edge  of  the  paper  even  with  the  foot  of  the  page,  and  bring 
the  heads  of  the  pages  which  adjoin  at  that  part  toward 
each  other  until  the  fold  in  the  paper  covers  the  head-line, 
and  nearly  the  first  line  of  the  text :  this  will  make  the 
head  right.  Then  fit  the  furniture  betw^een  the  pages,  and 
add  a  lead  or  two,  if  necessary.  After  cutting  and  folding 
slips  of  paper  and  laying  them  in  the  back  and  head,  open 
out  the  sheet  of  paper,  laying  the  folds  in  the  paper  pre¬ 
cisely  over  the  folds  in  the  slips,  and  it  will  be  seen  how 
the  margin  corresponds  with  the  whole  of  the  form . 

Before  we  proceed  to  octavo,  it  wdll  be  necessary  to  ob¬ 
serve,  that,  in  all  sizes  except  folio  and  quarto,  if  there 
he  not  enough  in  the  backs,  the  raw  edge  of  the  paper 
in  the  front-margin  w’ill  project  beyond  the  folded-margin, 
and  this  in  proportion  to  the  deficiency  in  the  back.  The 
same  will  take  place  in  the  length  in  duodecimo,  and  in  i 
smaller  sizes  w^here  there  are  olfcuts,  if  there  be  not  enough 
at  the  foot  of  the  pages  whence  the  oft'cut  is  taken.  The 
effect  produced  by  these  deficiencies  is,  that  the  binder 


1 


148  I’RINTEK’S  MANUAL: 

will  be  obliged  to  reduce  the  size  of  the  book,  both  in 
length  and  width,  when  cutting,  in  order  to  make  the 
edges  smooth. 

OCTAVO.  ^ 

Fold  a  sheet  of  paper  in  octavo,  and  lay  it,  thus 
folded,  upon  the  first  page,  the  fore-edge  of  the  paper 
even  with  the  outer-edge  of  the  types;  then  bring  the 
adjoining  page  toward  it  until  the  other  side  of  the  folded 
paper  lies  over  the  left-hand  side  of  the  jiage  about  a  jhca: 
this  will  give  the  width  of  the  gutter.  Then  open  the 
paper  out  a  fold,  into  quarto,  and  laying  it  upon  the  two 
pages,  bring  the  third  page,  on  the  right-hand,  sufficiently 
near  for  the  right-hand  side  of  the  jraper  to  lie  iqron  the 
left-hand  side  of  the  page  about  a  long-primer  body :  this 
will  give  the  width  of  the  back.  Then  fold  the  paper  up 
again,  and  laying  it  upon  tlie  first  page,  with  the  foot  of 
the  jiaper  even  with  the  direction-line,  bring  the  head  of 
the  page  above  it  so  near  that  the  top  of  the  folded  paper 
will  cover  the  head-line,  and  barely,  also,  the  first  line  of 
the  matter:  tliis  will  give  the  sjrace  at  the  head.  Then 
put  into  all  the  spaces  on  one  side  of  the  long-cross,  and 
into  the  head,  small  jrieces  of  furniture  from  the  drawer, 
or  quotations,  which  are  generally  used  where  they  will 
fit,  or  quadrats,  making  both  the  gutters  alike,  and  push 
the  pages  up  close.  Cut  the  slips  of  paper  as  before,  and 
fold  them;  lay  them  in  the  gutters,  head,  and  back,  and 
open  the  sheet  of  paper  to  its  full  size ;  lay  it  with  the 
crease  of  the  middle  fold  exactly  upon  that  in  the  slip  of 
paper  in  the  back,  and,  if  the  margin  be  right,  the  creases 
between  the  other  pages  will  fall  upon  those  in  the  slijis 
of  paper  laid  in  the  gutters;  if  they  do  not,  the  space  in 
the  back  must  be  increased  or  diminished  until  the}'  do, 
when  the  margin  will  be  right.  The  furniture  may  then 
be  cut,  and  a  lead  inserted  in  the  crosses  at  the  backs  and 
heads  in  each  of  the  quarters. 

TWELVES. 

After  folding  a  sheet  exactly  in  duodecimo,  proceed  as 
in  octavo  for  the  gutter;  but  let  the  fold  lie  rather  less 
over  the  adjoining  page  than  a  pica.  Proceed  in  the  same 


IMPOSING. 


149 


manner  for  the  back ;  but  it  will  be  sufficient  if  the  paper 
cover  the  third  page  only  a  long-primer  body.  The  fold 
in  the  head  will  just  cover  the  top  line  of  matter  in  the 
adjoining  page  above  it,  as  in  octavo;  and  the  pieces  of 
furniture  put  in  there  are  called  bolts.  The  offcut  is  now 
to  be  considered :  this  is  always  imposed  on  the  outside 
of  the  short-cross,  and  the  back  and  gutters  are  the  same 
as  those  in  the  other  part  of  the  sheet.  For  the  head 
of  the  offcut,  the  space  between  the  running- title ,  or,  where 
there  is  no  running-title ,  the  head-line,  and  the  middle  of 
the  groove  in  the  short-cross,  must  be  exactly  half  the 
width  of  the  bolts ;  because ,  as  register  is  made  at  this 
part,  and  the  points  fall  into  the  groove  and  there  make 
point-holes,  the  binder  folds  to  these  holes  and  takes  off 
the  offcut  in  accordance.  Thus,  when  the  sheet  is  folded, 
and  the  offcut  inserted  in  its  place  and  knocked-up,  the 
head-lines  of  the  offcut  ought  to  range  with  the  head-lines 
of  the  outer  pages,  and  this  should  always  be  kept  in  view 
by  the  printer. 

When  duodecimo  forms  are  printed  on  a  power-press, 
they  are  generally  pointed  in  the  long-cross.  This  leaves 
the  offcut  without  any  mark  by  which  the  binder  will  be 
able  to  separate  it  correctly  from  the  rest  of  the  sheet. 
In  all  such  cases  it  would  be  well  to  justify  a  couple  of 
small  pieces  of  single  rule  in  the  places  where  the  points 
should  strike. 

The  space  between  the  bottom  of  the  other  pages  and 
the  middle  of  the  groove  in  the  short-cross  should  be 
within  a  pica  of  the  outer  margin  at  the  foot  of  the  pages, 
which  will  allow  for  a  little  variation  in  the  size  of  the 
paper,  and  not  affect  the  size  of  the  book  in  cutting  the 
edges.  When  the  distances  are  thus  arranged,  put  short 
pieces  of  furniture,  quotations,  etc.,  as  before  directed,  be¬ 
tween  the  pages,  in  the  gutters  and  back  in  one  row,  and 
in  the  head  and  both  sides  of  the  short-cross  in  another, 
and  push  the  pages  of  both  these  rows  close  up.  Cut  slips 
of  paper  and  fold  them  for  the  gutters  and  the  back,  as 
also  for  the  bolts;  then  open  out  the  sheet  of  paper,  and 
lay  the  middle  crease  in  it  exactly  upon  the  one  in  the 
slip  of  paper  laid  in  the  back;  and,  if  the  side-margin  is 
right,  the  creases  in  the  sheet  of  paper  between  the  other 
pages  will  fall  upon  those  in  the  slips  of  paper  in  the 


150 


PRINTER’S  MANUAL; 


gutters;  if  they  do  not,  the  space  in  the  hack  must  he 
altered  until  they  do.  Then  try  it  the  other  way,  by  lay¬ 
ing  the  crease  in  the  sheet  of  paper  upon  the  6'ne  in  the 
slip  laid  in  the  bolt,  and  if  the  crease  of  the  offcut  fall 
exactl}'  in  the  middle  of  the  groove  of  the  short-cross,  it 
is  right;  if  it  does  not,  the  space  at  the  foot  of  the  pages 
next  the  cross  must  be  altered  until  it  does.  It  being  pre¬ 
sumed  that  the  gutters  and  bolts  are  right,  the  only  places 
at  which  to  alter  are  the  back  and  the  sjiace  at  the  foot 
of  the  pages  which  lie  at  the  oft’cut;  a  lead  or  two,  as 
may  be  required,  should  be  put  in  each  of  the  quarters 
next  the  crosses. 

In  duodecimo,  music-way,  the  pages  are  reversed  in 
shape,  being  so  wide  that  two  of  them  occupy  the  M'idth 
of  the  sheet,  and  so  short  that  six  of  them  are  equal  to 
the  length.  In  this  case  there  are  no  backs,  technically 
so  called,  but  only  gutters;  but,  as  the  long-cross  comes 
between  the  pages,  the}’  must  be  treated  as  backs,  in  the 
same  manner  as  in  folio,  and  the  fold  of  the  paper  must 
bo  allowed  to  lie  more  over  the  side  of  the  adjoining  page, 
as  was  described  in  making  margin  for  folio  :  if  the  page 
be  very  wide,  less  than  half  an  inch;  if  it  be  narrow,  and 
a  large  margin,  it  may  be  a  little  more.  The  head-margins 
or  bolts  are  three  in  depth,  and  may  be  ascertained  in  the 
same  manner  precisely  as  for  octavo  or  common  twelves, 
which  being  done,  the  foot-margins  may  be  ascertained. 
These,  being  two,  may  have  a  pica  body  each  less  than 
the  outer  foot-margins,  to  allow  for  any  inequality  in  the 
size  of  the  paper,  or  in  laying  on  the  white  paper  at 
press.  This  can  be  done  by  folding  the  paper  exactly  in 
three  portions  the  narrow  way  of  the  sheet,  and  extending 
the  pages  until  one  of  these  portions  covers  the  two  outer 
pages  with  the  gutter,  and  lies  over  the  third  about  a  pica 
lx)dy.  "When  this  has  been  done  at  one  end  of  the  form, 
the  other  end  may  be  regulated  in  the  same  way.  The 
margin  may  then  be  tried  in  the  manner  described  before, 
and  any  alteration  necessary  must  be  made  in  the  space  at 
the  foot  of  the  pages,  care  being  taken  that  both  spaces 
are  equal. 

In  long  duodecimo,  the  pages  are  of  the  same  size  as 
the  preceding,  only  that  they  exchange  the  length  for  the 
width,  and  the  width  for  the  length.  The  manner  of 


IMPOSING. 


151 


making  margin  is  the  same  for  this  size  as  for  the  last; 
the  only  difference  between  them  being,  that  which  was 
the  gutter  in  the  other  making  the  head  in  this,  and  what 
was  the  head  or  bolt  and  the  foot-margin  now  becoming 
the  gutter  and  the  back.  The  spaces  between  the  pages, 
for  heads,  gutters,  and  backs,  are  ascertained  in  the  same 
manner  as  described  for  ordinary  duodecimo. 

As  the  number  of  pages  increases  in  a  sheet,  so  the 
utility  of  placing  slips  of  paper,  folded  in  the  middle,  in 
the  gutters,  backs,  etc.,  becomes  greater,  by  . enabling  the 
person  whose  business  it  is,  to  ascertain  readily  the  middle 
of  each  space  when  he  tries  the  whole  margin  with  the 
sheet  opened  out.  To  some  this  may  seem  unnecessarily 
minute;  but  whatever  method  tends  toward  facilitating  an 
operation  f  and  enabling  a  person  to  perform  it  more  accu¬ 
rately,  is  useful. 


SIXTEENS. 

After  having  described  so  fully  the  manner  of  folding 
the  paper  and  ascertaining  the  spaces  betw'een  the  pages 
for  the  gutters,  the  heads,  and  the  backs,  which  may  be 
needed  for  folios,  quartos,  octavos,  and  duodecimos,  it  will 
be  unnecessary  to  repeat  those  directions  for  the  other  sizes. 

For  sixteens,  fold  a  quarter  of  a  sheet  of  paper  exactly 
in  four,  and  proceed  to  find  the  width  of  the  gutter,  the 
back,  and  the  head,  in  one  quarter  of  the  chase,  and  having 
made  these  correctly,  arrange  the  remainder  of  the  form  in 
the  same  manner.  After  this  is  done,  the  whole  must  be 
tried  with  an  entire  sheet  of  paper  opened  out,  and  any 
slight  alteration  which  is  to  be  made  must  be  done  by 
increasing  or  lessening  the  space  in  the  backs  and  at  the 
foot  of  the  pages  next  the  short-cross. 

The  greater  the  number  of  pages  in  a  sheet,  the  lesser 
in.  proportion  does  the  margin  become ;  it  must  therefore 
be  evident,  that  the  folded  paper  should  lie  proportionably 
less  over  the  edges  of  the  adjoining  jjage,  both  for  gutter 
and  for  back,  as  the  number  of  2>ages  increases;  for,  as  a 
folio  may  require  the  page  to  be  half  an  inch  nearer  the 
back  than  the  fore-edge,  a  form  of  eighteens  may  not  require 
it  to  be  more  than  a  long-primer;  and  so  in  proportion  with 
respect  to  the  size  of  the  pages  and  of  the  margin. 


152 


1>  II I N  T  E  R  ’  S  MANUAL: 


EIG II  TEENS. 

A  sheet  of  eighteens  is  the  same  as  three  half  sheets 
of  duodecimo  imposed  together ;  there  are  two  hacks  and 
three  gutters  in  each  form.  The  other  way  of  the  chase 
it  is  three  pages  in  depth,  having  holts  and  an  offcut  the 
same  as  duodecimo;  and  the  process  is  the  same  as  when 
making  margin  for  that  size,  with  this  difference,  that  the 
first  gutter  and  back  are  ascertained  by  one-third  of  the 
sheet  of  paper  the  long  way  instead  of  one-half  of  it  the 
narrow  way.  Having  made  the  spaces  between  the  six 
pages  at  the  near  side  of  the  chase  correct,  make  the  other 
two  rows  correspond  with  them,  and  then  try  the  M'hole 
with  the  sheet  of  paper  opened  out.  The  creases  in  the 
folds  should  fall  exactly  in  the  middle  of  the  gutters  and 
hacks;  but  as  the  offcut  is  not  imposed  on  the  side  of  the 
short-cross  with  the  groove  in  it,  the  crease  for  the  offcut 
should  be  exactly  one-half  the  width  of  the  holt  from  the 
running-title,  or  head-line,  or  it  should  fall  in  the  middle  of 
the  long-cross. 

It  should  be  kept  in  mind  that  in  making  mai-gin,  the 
arranging  of  the  whole  form  must  not  he  attempted  at  once ; 
because  it  is  more  than  probable  that  it  will  be  wrong  and 
the  .source  of  additional  trouble  and  waste  of  furniture.  The 
safer  jjlan  is  to  get  one  portion  right,  then  to  make  a  row 
of  pages,  each  way,  through  the  form,  and  afterward  to 
try  them  with  the  sheet  of  paper  opened  out,  when  any 
slight  variation  that  may  occur  can  be  easily  remedied  be¬ 
fore  the  furniture  is  cut. 

TWENTY-FOURS. 

The  side-margin  is  to  be  ascertained  in  the  same  way 
as  recommended  for  eighteens,  both  being  the  same  number 
of  pages  in  width;  and  the  head-  and  foot-margins  can  be 
determined  in  the  manner  recommended  for  sixteens.  Ihe 
difference  in  the  size  of  the  pages  does  not  affect  the  prin¬ 
ciple  of  making  margin. 

A  form  of  long  twenty-fours  is  similar  to  a  sheet  of 
twelves  imposed  in  one  chase,  the  width  of  the  pages  be¬ 
ing  the  longest  way  of  the  paper  :  the  method  of  making 
margin  for  it  will  he  the  same  as  for  twelves  or  eighteens. 


IMPOSING. 


153 


The  only  difference  between  square  twenty-fours  and 
twenty-fours  is,  that  in  the  former  the  width  occupies  the 
sheet  the  longest  way.  The  margin  is  made  in  a  similar 
manner  in  both. 

THIRTY-TWOS. 

As  one  quarter  of  a  form  of  thirty- twos  is  similar  to  a 
form  of  octavo,  the  margin  may  be  made  by  folding  a 
quarter  of  a  sheet  of  paper  and  arranging  the  pages  of 
one-fourth  of  the  form,  only  in  the  first  instance.  When 
this  is  done,  the  remaining  pages  should  be  placed  in  the 
same  relative  position,  and  the  whole  should  be  tried  with 
the  sheet  of  paper  opened  out,  before  cutting  the  furniture. 

There  is  no  variation  in  the  principle  of  making  the 
margins  of  the  other  sizes;  as  they  are  all  composed  of  a 
number  of  octavos,  twelves,  or  eighteens,  and  it  would  be 
nothing  more  than  a  repetition  of  the  directions  previously 
given  for  determining  the  width  of  the  gutters,  backs,  heads 
or  bolts,  and  of  the  spaces  at  the  foot  of  the  pages  when 
they  either  cut  up  or  fold  at  that  point. 

Whenever  a  half  sheet  is  imposed,  or  two  half  sheets 
to  be  worked  together,  the  middle  margin,  where  the  sheet 
is  cut  in  two,  should  always  be  made  out  and  out,  so  that 
both  the  fore-edges  may  be  equal. 

When  the  margin  to  the  first  sheet  of  a  work  has  been 
made  and  the  quoins  tightened  with  the  fingers,  a  gauge 
should  be  cut  for  the  back  and  head,  so  that  those  spaces 
in  the  succeeding  sheets  may  be  measured  whenever  it  is 
found  to  be  necessary. 


CUTTING  FURNITURE. 

In  cutting  the  furniture  the  heads  or  bolts  should  be 
made  so  that  they  would  fit  in  the  composing-stick  in  which 
the  work  has  been  set;  this  will  allow  the  gutters  to  be 
a  line  or  two  longer  than  the  pages,  so  that  they  can  be 
pushed  down  close  to  the  foohsticks,  and  will,  at  the  other 
end,  project  between  the  head-sticks,  thereby  securing  the 
insides  of  the  pages,  without  there  being  any  liability  of 
the  gutters  binding,  when  locked  up,  as  is  likely  to  be 


154 


PRINTER’S  MANUAL  ; 


the  case  when  the  liead-sticks  to  each  quarter  are  in  one 
piece,  and  tlie  gutters  are  cut  to  the  exact  length  of  the 
pages.  The  gutters  being  a  little  longer  thau  the  jiages, 
may  answer  for  other  ivorks,  where  the  pages  are  of  the 
same  width  hut  different  in  length. 

The  head-sticks  and  gutters  being  cut  and  put  in  the 
parts  of  the  form  to  which  they  belong,  the  next  thing  to 
be  done  is  to  cut  the  backs.  They  should  be  made  so  that, 
when  put  in  their  places,  they  would  reach  from  the  cross¬ 
bar  to  a  short  distance  below  the  foot  of  the  page,  yet 
not  so  long  as  to  interfere  with  the  quoin,  if  it  should 
be  driven  up  close  to  the  cross-bar. 

The  side-stick  should  reach  from  the  cross-bar,  or  from 
the  furniture  at  that  place,  to  a  short  distance  beyond  the 
foot  of  the  page,  but  not  enough  to  pass  the  end  of  the 
foot-stick,  as  it  would  be  in  the  way  of  the  outer  quoin 
at  the  foot. 

'The  foot-stick  should  be  a  little  shorter  than  the  width 
of  the  pages  and  gutter;  for,  as  there  is  alwa3’S  a  line  of 
quads  at  the  foot  of  each  page,  the  foot-stick  may  be  a 
pica  shorter  without  the  risk  of  any  of  the  types  falling 
out  when  the  form  is  lifted;  it  also  prevents  the  side-  and 
foot-sticks  from  binding  when  locked  uji. 

If  tlie  furniture  bo  cut  according  to  the  foregoing  direc¬ 
tions,  it  will  be  perceived  that  all  the  pages  are  seciue, 
and  that  it  is  impossible  for  the  furniture  to  bind  in  any 
place  when  locked  up :  as  the  gutter  is  pushed  down  to 
the  foot-stick  and  extends  a  short  distance  above  the  heads 
of  the  pages ;  the  heads  or  bolts  being  cut  so  as  to  fit 
the  composing-stick;  the  back  is  pushed  up  close  to  the 
cross-bar,  and  extends  a  little  below  the  foot  of  the  page; 
the  foot-stick  rests  against  the  back,  and,  bi’  being  a  little 
short,  prevents  the  side-stick  from  binding  against  it;  the 
side-stick  abuts  against  the  cross-bar  or  furniture,  and  passes 
the  quad-line  at  the  foot  of  the  page. 

The  jiieces  of  furniture  placed  at  the  cross-bars  should 
not  be  so  long  as  to  project  past  the  ends  of  the  side-  and 
foot-sticks;  for,  when  the}’  do,  they  are  in  the  waj-  of 
the  shooting-stick,  if  a  quoin  has  been  driven  up  closel}’, 
when  the  form  has  to  be  unlocked. 

When  either  the  side-  or  foot-stick  is  so  long  as  to 
project  one  be\’Oud  the  other,  it  prevents  the  quoin  from 


IMPOSING. 


155 


passing,  and,  in  unlocking,  occasions  a  great  amount  of 
trouble  in  getting  it  out;  and  is  likely  to  cause  the  side-stick 
to  be  battered  or  broken,  or,  perhaps,  a  page  to  become 
squabbled.  This  is  produced  by  carelessness  or  idleness, 
both  of  which  generally  create  more  trouble  in  the  end  than 
if  the  work  had  been  done  properly  in  the  beginning. 

If  it  be  thought  unnecessary  or  wasteful  to  cut  down 
side-  or  foot-sticks  for  a  job  or  pamphlet,  when  there  are 
none  of  a  proper  length  in  the  office,  a  piece  of  furniture 
taken  out  of  the  drawer,  of  the  correct  length  and  width, 
and  placed  between  the  side-stick  and  the  page,  will  obviate 
the  difficulty  and  allow  the  quoin  to  be  driven  with  ease. 

When  placing  the  furniture  around  the  pages,  leave  the 
ends  of  the  page-cords  out,  so  that  they  may  be  taken  off 
easily,  without  the  necessity  of  disturbing  the  furniture  or 
pages  to  find  the  ends,  which  will  be  the  case  if  they  be 
hidden  from  view. 

To  prevent,  as  much  as  possible,  one  piece  of  furniture 
from  being  mistaken  for  another  in  the  hurry  of  business, 
it  would  be  well  to  cut  all  the  gutters  for  the  sheet  of  the 
same  length.  The  same  should  be  done  with  the  heads 
and  backs;  but  each  kind  should  be  of  a  different  length 
from  that  of  the  others.  If  this  be  done,  they  can  be 
easily  distinguished,  and  the  liability  to  make  mistakes  will 
be  obviated. 

When  it  can  be  done,  it  is  preferable  to  have  each  part 
of  the  furniture  in  one  piece,  as  it  prevents  them  from 
being  transposed  and  the  margin  from  getting  wrong :  but 
sometimes  pieces  will  be  wanted  of  a  width  that  is  not 
equal  to  any  particular  size,  and  then  two  must  be  used. 

The  heads  and  gutters,  for  all  regular  sizes,  should  be 
made  out  of  type-metal,  which  is  cast  from  two  to  twelve 
m  in  width,  and  a  foot  in  length.  These  pieces,  to  insure 
accuracy,  should  be  cut  at  the  foundry.  The  furniture  at 
the  back  and  short-cross  should  be  of  wood,  because  the 
spaces  will  often  have  to  be  altered  at  these  places  on 
account  of  the  difference  in  the  sizes  of  paper  mentioned 
when  treating  of  making  margin.  The  side-  and  foot-stichs 
should 'be  either  wrought-iron  or  gun-metal,  and  made  per¬ 
fectly  smooth  and  perpendicular  on  the  sides  which  the 
types  and  the  quoins  rest  against.  If  this  be  not  done,  the 
form  will  be  thrown  oif  of  its  feet  when  it  is  locked  up. 


156 


PRINTER’S  MANUAL  ; 


LOCKING  UP  THE  FOEM. 

The  furniture  being  now  around  the  pages,  the  person 
making  up  the  form  should  put  a  few  quoins  between  the 
side-  and  foot-stick,  and  the  chase,  not  with  any  particular 
care  that  they  fit,  but  merely  to  secure  the  pages,  and  by 
that  means  to  push  them  up  close  to  the  heads,  backs, 
and  gutters . 

After  having  taken  a  page-cord  from  a  page,  push  that 
page  up  close  to  the  furniture  toward  the  cross-bars,  by 
means  of  the  side-  and  foot-sticks,  to  prevent  the  letters 
at  the  ends  of  the  lines  falling  down,  and,  at  the  same 
time,  tighten  the  quoins  gently  with  the  fingers. 

The  page-cords  being  all  taken  off,  and  the  pages 
pushed  up,  it  will  next  be  necessary  to  examine  particularly 
whether  the  margin  be  right;  and  also  to  put  a  thin  lead 
between  the  furniture  and  the  crosses.  These  leads  enable 
the  pressman  to  make  register,  if  there  be  any  inequality 
in  the  furniture  or  the  crosses,  hv  changing  their  situations, 
or  taking  some  of  them  away.  They  also  enable  the  com¬ 
positor  to  make  the  distance  between  the  pages  in  the 
backs  and  heads  uniform,  which  should  always  be  the  case; 
and  no  form  of  book-work  that  has  to  be  printed  on  both 
sides  of  the  paper  should  be  imposed  without  them;  but 
they  should  never  be  used  in  the  gutters. 

The  form  has  now  to  be  quoined,  which  many  com¬ 
positors  are  in  the  habit  of  doing  very  carelessly,  thinking 
that  if  the  form  lifts  it  is  quite  sufficient.  This  is  an 
erroneous  ojiinion,  and  frequentl}’  causes  mistakes  from  the 
careless  manner  in  which  the  quoining  is  done,  bj'  letters 
and  even  line  drojiping  out  when  the  form  as  lifted  from 
the  stone  or  laid  on  the  press,  and  which  may  not  get 
replaced  correctly ;  and  the  pages  are  more  likeh’  to  tall 
out  of  the  chase,  if  the  form  be  allowed  to  stand,  without 
a  letter-board  at  its  back,  for  a  day  or  two.  As  octavo  is 
the  most  common  size  worked,  whatever  directions  may 
be  given  will  be  for  that  size ;  but  the  principle  is  the 
same,  whatever  the  size  of  the  page  may  be.  There 
should  be  two  quoins  at  the  side  of  each  outer  page.  The 
one  near  the  cross-bar,  when  in  its  right  position,  should 
be  about  three-quarters  of  an  inch  from  the  broad  end  of 


IMPOSING. 


157 


the  side-stick,  which  will  allow  room  for  the  shooting-stick 
in  unlocking,  and  also  for  the  form  being  tightened,  if  the 
furniture  in  the  back  should  shrink ;  and  the  other  quoin , 
when  driven  tight,  should  be  its  whole  length  within  the 
other  end  of  the  page,  and,  if  it  be  the  one  at  the  outer 
end  of  the  side-stick,  it  should  no  more  than  pass  the 
end  of  the  foot-stick ;  because  this  end  of  the  side-stick , 
being  thin,  will  be  likely  to  spring  from  the  page  if  the 
quoin  be  driven  in  far,  and  thus  leave  the  lines  below 
it  insecure,  and  i.n  danger  of  falling  out.  There  should 
be  two  quoins  at  the  foot-stick  in  the  same  situations, 
and  a  third  in  the  middle,  to  cover  the  end  of  the  gutter. 
Each  quarter,  of  a  form  of  octavo,  thus  quoined,  will  be 
perfectly  secure  when  the  quoins  are  driven  tight,  provided 
the  pages  be  made  up  to  the  same  length,  and  the  lines 
properly  justified. 

Before  the  quoins  are  tightened  the  pages  in  each  quar¬ 
ter  should  be  examined  to  see  that  they  are  of  the  same 
length,  which  may  be  done  by  pressing  against  the  foot- 
stick  ,  and  raising  it  a  little  from  the  stone ;  if  it  lifts  up 
with  it  equally  the  ends  of  both  the  pages  against  which 
it  presses,  they  are  right.  The  other  quarters  of  the  chase 
must  be  examined  in  the  same  way,  and,  if  anj^  variation 
in  the  length  of  the  pages  should  be  found  to  exist,  it 
must  be  rectified.  This  arises  generally  from  the  careless¬ 
ness  of  the  compositor,  who  will  not  take  the  trouble  of 
cutting  a  gauge  by  which  to  make  up  his  pages,  but  does 
it  by  counting  the  lines,  sometimes  putting  in  a  line  too 
much,  and  at  others  leaving  out  one,  and,  again,  by  a 
having  too  few  or  too  many  leads  in  a  page. 

The  quoins  should  now  be  pushed  up  with  the  fingers, 
and  the  form  planed  down  gently.  If  any  letters  should 
haj^pen  to  project  above  the  rest,  they  are  easily  pushed 
down,  by  this  mode  of  proceeding,  without  injuring  the 
face.  After  this  is  done,  the  sides  of  the  pages  should 
be  examined  to  see  that  no  letters  have  slipped  out  of 
their  places  at  the  ends  of  the  lines,  which  is  frequently 
the  case  when  pages  which  have  been  tied  up  have  lain 
on  the  galley  or  under  the  frame  for  some  time ;  this  may 
also  happen  in  taking  the  page-cords  off,  particularly  if 
they  be  knotty.  Having  examined  the  pages  and  rectified 
any  thing  that  may  have  been  found  misplaced,  which  is 


158 


PRINTER’S  MANUAL: 


easily  done  in  this  stage  of  the  form,  the  quoins  should 
be  gently  tightened,  with  the  mallet  and  shooting-stick, 
until  the  types  are  held  firm  and  upright  in  their  places  in 
the  fonn.  It  should  then  be  planed  down,  by  putting  the 
face  of  the  planer  down  evenly  on  the  types  and  striking  it 
firmly,  hut  not  violently,  with  the  mallet.  If  any  letters 
stand  higher  than  the  rest,  because  there  is  some  substance 
underneath  them,  such  as  a  space,  or  a  letter,  or  a  piece 
of  page-paper,  it  will  be  better  to  omit  planing  that  part 
down,  as  it  will  only  injure  the  types.  The  quoins  should 
now  be  driven  up  tight  enough  to  lift  the  form,  taking 
care  that,  after  the  form  is  locked  up  tight  enough  at  the 
foot  to  retain  the  lines  firmly  in  their  jfiace,  the  remainder 
must  be  done  at  the  side. 

The  reasons  for  locking  the  pages  up  tighter  at  the 
sides  than  at  the  feet  are  these :  the  lines  will  give  more 
in  the  direction  of  the  width  of  a  page  than  in  that  of 
the  length ;  and ,  if  the  pages  he  first  locked  up  tightly 
at  the  sides  and  the  feet  be  driven  up  afterward,  the  lines 
will  be  bent  by  reason  of  their  ends  being  held  fast  by  the 
side-sticks  and  backs,  while  the  middle  parts  are  driven  up 
by  the  pressure  at  the  feet. 

In  locking  up  forms,  some  compositors  finish  one  quarter 
completely  before  proceeding  to  the  next.  This  should 
never  be  done,  as  it  will  spring  the  cross-bars,  and  thereby 
hinder  the  pressman  from  making  register.  The  proper 
way  is  to  lock  up  each  quarter,  a  little  at  a  time,  until 
the  form  can  be  lifted. 

One  side  of  the  form  is  now  to  be  lifted  from  the 
stone,  just  enough  to  allow  the  compositor  to  see  whether 
it  will  rise  or  not,  but  not  so  high  as  to  let  any  loose 
letters  drop  out.  If  any  thing  of  the  kind  should  be  found, 
the  form  should  be  unlocked,  and  the  lines  containing 
such  letters,  justified.  Some  persons,  instead  of  doing  this, 
will  thrust  a  bodkin  between  some  of  the  words,  or  tighten 
the  quoins;  but  this,  beside  being  slovenly,  is  not  a  safe 
way  of  remedying  such  defects,  as  the  letters  are  alwaj's 
in  danger  of  being  drawn  out  at  press.  Sometimes  piarts 
of  a  page  are  loose  on  account  of  a  letter  having  slipped 
down  at  the  end  of  a  line :  in  this  case  it  is  easily  rectified , 
by  unlocking  the  quarter  and  putting  such  letter  in  its 
j)lace;  when  this  is  done,  and  the  form  will  rise,  take  any 


IMPOSING. 


159 


thing  that  may  be  under  it  away,  lay  the  form  on  the 
stone  again,  loosen  the  quoins  in  that  quarter,  then  plane 
it  down,  and  lock  it  up  as  before  directed. 

The  form  being  now  locked  up,  the  stone  must  be 
cleared  of  every  thing:  such  as,  the  mallet  and  planer, 
quoins,  page  cords,  and  any  other  material  which  may 
have  been  used  during  the  locking  up  of  the  form. 

In  imposing  a  sheet  with  the  furniture  of  one  that  has 
been  worked  off,  there  are  certain  things  to  be  attended  to 
which  are  frequently  neglected.  The  chase  and  furniture 
of  one  form  should  always  be  used  for  a  similar  form : 
that  is,  those  for  an  outer  form  should  again  be  use  for  an 
outer  form,  and  those  of  an  inner  form  for  each  succeeding 
one  of  the  same  kind;  they  should  also  be  put  around  the 
pages  in  the  same  order  in  which  they  were  placed  about 
those  of  the  preceding  forms.  For  want  of  care  or  thought 
in  these  apparently  trifling  circumstances,  a  great  amount 
of  trouble,  inconvenience,  and  loss  of  time,  are  frequently 
incurred ;  because ,  the  register  will  almost  certainly  be 
wrong  when  this  is  neglected,  and  then  the  form  must  be 
unlocked  and  the  leads  changed,  some  of  them  having  to 
be  taken  out  or  other  ones  inserted. 

It  will  be  a  great  saving  of  time  if  the  compositor  is 
methodic  when  taking  the  chase  and  furniture  from  one 
form  and  putting  them  around  another.  The  quoins  should 
be  taken  out  and  laid  on  the  adjoining  pages  in  regular 
order;  then,  after  the  chase  and  furniture  have  been  put 
around  the  pages  of  the  other  form,  there  will  be  no  loss 
of  time  in  replacing  the  quoins  or  in  finding  the  projier 
place  for  each  of  them. 

The  chases  for  a  sheet  should  alwa3’s  be  in  pairs ;  for 
if  they  be  of  different  sizes,  and  the  rims  vary  in  thickness, 
it  causes  the  pressman  to  lose  time,  in  making  register, 
when  both  forms  are  worked  at  the  same  press,  and  often 
occasions  the  spoiling  of  several  sheets  of  paper  before  that 
object  is  accomplished. 

If  a  form  should  not  be  distributed  immediately  after 
the  chase  and  furniture  are  taken  off,  a  cord  should  be 
put  around  each  page.  This  will  hinder  the  types  from 
getting  pied:  at  least,  it  may  prevent  an  accident  and  save 
some  unnecessary  trouble. 


160 


PRINTER’S  MANUAL  : 


TAKING  THE  PKOOF. 


J  The  loFm  being  ready,  the  next  thing  to  be  done  is  to 
pull  a  proof.  To  do  tliis  properly  the  form  should  be 
carried  to  the  press;  but,  before  it  is  laid  down,  the  bed 

and  the  back  of  the  form  should  be  brushed  off,  so  that 

no  grains  of  dirt  or  other  hard  particles  will  be  on  either 
of  them;  then,  having  placed  the  lower  edge  of  the  chase 
at  the  farther  side  of  the  bed,  to  let  it  down  gentl}’  until 

it  rests  upon  the  press.  The  form  should  next  be  im- 

locked,  planed  down,  and  locked  up  again. 

The  form  must  now  be  inked ;  in  doing  which  care 
should  be  taken  that  too  much  be  not  put  on,  as  it  will 
collect  on  the  finer  lines  of  the  types  and  give  the  whole 
form  a  muddy  appearance  when  the  impression  is  taken. 
The  proof  should  not  be  quite  as  black  as  book- work  is ; 
because,  if  it  be  a  little  gi'e}',  any  imperfect  letters  can  be 
easily  seen,  which  would  not  be  the  case  were  the  faces 
of  the  types  surcharged  with  ink. 

The  impression  should  never  be  taken  with  a  blanket, 
as  it  will  press  the  paper  down  around  the  outer  edges 
and  into  the  counters  of  the  types.  From  four  to  six 
thicknesses  of  paper  should  be  put  between  the  tympan 
and  drawer,  in  place  of  the  blanket,  and  an  impression 
pulled,  just  hard  enough  to  bring  the  pages  up  distinctly. 

The  form  is  now  to  be  lifted  from  the  press,  taken  to 
the  trough,  brushed  over  with  ley,  and  rinsed  with  clean 
water,  then  laid  on  the  stone  and  unlocked  for  correction, 
or  inclined  against  a  letter-board,  in  some  safe  place. 


COERECTING. 


This  being  in  itself  the  cause  of  loss  of  time  to  the 
compositor,  it  is  important  that  he  be  made  acquainted 
with  the  most  expeditious  as  well  as  the  siuest  method  of 
doing  it  accurately. 

If  the  types  be  on  a  galley,  they  should  be  carried  to 
the  case  and  corrected  there,  the  facilities  being  much 
greater  than  at  the  stone.  Both  ends  of  the  galley  should 
be  kept  so  far  above  the  ledge  of  the  lower-case  that  the 


IMPOSING.  161 

spaces  and  letters  in  the  row  of  boxes  next  the  workman 
could  be  got  at  without  difficulty. 

Whether  the  types  be  coiTected  on  the  galley  or  on  the 
stone,  the  method  of  performing  it  will  be  the  same.  If 
there  should  be  an  error  in  a  line,  which  would  cause  the 
least  alteration  in  the  spacing,  that  line  must  be  taken  out 
of  the  form  or  galley  and  justified  in  the  composing-stick; 
because  it  is  impossible  to  do  so  correctly  in  any  other 
manner.  In  figure- work,  and  other  jobs,  in  which  the 
types  taken  out  and  put  in  are  of  the  same  size,  the  line 
need  not  be  lifted.  In  all  such  cases  nippers,  made  rough 
on  the  inside  like  a  fine  file,  should  be  used. 

One  class  of  corrections  only  should  be  attended  to  at 
a  time ;  that  is ,  the  literal  errors  must  be  first  rectified , 
then  the  doublets  and  outs,  if  there  be  any;  after  which, 
the  galley  should  be  carefully  revised. 

In  correcting  at  the  stone,  the  case  should  be  brought 
from  the  stand  and  placed  as  near  the  form  as  circum¬ 
stances  will  allow.  This  will  save  the  comjjositor  much 
time,  as  he  will  not  have  to  leave  the  stone  while  making 
the  corrections,  except  it  be  for  caps,  italic,  or  some  other 
sorts  of  the  kind. 

When  the  first  proof  has  been  corrected,  a  second  one 
must  be  pulled,  which,  after  being  compared  with  the  other 
to  see  that  the  errors  marked  have  been  rectified,  must  be 
sent  to  the  author,  by  whom  it  is  looked  over;  and  any 
corrections  or  alterations  which  he  may  deem  it  necessary 
to  make  being  legibly  marked  on  the  margin,  it  must  be 
put  into  the  hands  of  the  reader  again,  who,  after  having 
read  it  over  carefully,  for  grammatical  mistakes,  and  errors 
which  may  not  have  been  detected  in  the  first  proof,  will 
give  it  to  the  compositor  for  final  correction. 

Before  the  form  is  put  to  press,  it  must  be  revised,  in 
the  metal ,  by  the  foreman ,  or  some  person  who  has  no 
part  of  the  form ;  because  the  compositor,  on  account  of 
having  set  the  types,  will  not  be  able  to  detect  any  over¬ 
sight  ,  in  correcting ,  as  well  as  another  person  will . 

O')  the  next  page  is  given  a  specimen  of  a  proof,  with 
the  errors  generally  made,  and  the  marks  of  correction 
coi-responding  to  them ;  neither  of  which  will  require  any 
explanation,  as  the  same  matter,  in  a  corrected  state,  is 
given  on  the  opposite  page. 


162 


PRINTER’S  MANUAL  : 


Chancery-Case  for  Three- Pence. 

Eyre  and  Strahan,  King’s  printers,  vs.  Ogilvy 
w.  f.  and  Sp/ar  May  3,  1794. 

A  few  days  previous  to  the  last  general 
a  fast,  the  defendirtits ,  through  ignorance  of  the 

law,  sold  one  co])y  of  the  J’orm  of  Jl'rayer,  /  |  p 
appointed  to  be  used  on  that  occasion,  not 
Ital.  printed,  by  authority  of  the  king’s  patent. 

The  i^ntiffs,  without  giving  the  smallest  slight 
intimation  to  desist,  tiled  this  bill  to  compel 
the  defendants  to  account  to  them  for  the 
tr.  })rofit  frcmil arising  the  said  sale.  Upon  being 
served  with  the  subiiosna,  defendants  ap]ilied 
to  have  proceedings  stayed/  which  the  plain-  j , 
tiffs,  >fftcr  considerable  hesitation,  agreed  to, 
on  condition  of  defendants  paj-ing  costs,  and 
making  affidavitto  the  sale,  ^this^fwjjoriai?#  w 
cau.se  was  this  ‘^ay  finished,  when  2ilfiintiffs 
S  6V/p.s.received  thrce-iicnce !  tlie  i>rofit  arising  from 
the  sale,  and  when  the  attorne/^,  Edward  S. 

Foss,  of  Grough-squarc,  did  not  blush  to  re¬ 
ceive  £13  6,9  9d  for  costs  incurred/  Q 

^  >  N.  B.  —  Andrew  Strahan,  one  of  the  plain  j- 

tiffs,  takes  a  considerable  sum  annually,  in 
the  way  of  trade,  from  the  industrious  de¬ 
fendants,  against  (agaiiiani  wliom  the  bill  was  ^ 
tiled,  wlio  now  jiublish  this  case  for  the  pur- 
w.  /.  iiose  of  c;p!titioning  the  public  against  a  similar 

offense,  and  that  the  liberal  character  of  Mr.  stet. 
Strahan  may  bo  generally  known. 

Perluqis  this  the  history  of  law,  of  a  bill 
in  chancery  htmug  been  filed  to  recover  .so 
small  a  sumr  as  three-pence,  and  deserves  to 
be  reconWi  in  the  future  editions  of  the  “Cu- 
uiosiTms  OK  Literature”  as  an  elucidation 
of  th«  old  law-adage /•' jus  summa  O 
inj/nria .”  m 


is  the  only  case  which  has  ever  occur reil  in 


IMPOSING. 


163 


CHANCEKY-CASE  FOE  THREE-PENCE. 

Eyre  and  Strahan,  King's  printers,  vs.  Ogilvij  * 
and  Spear.  May  3,  1794. 

A  few  days  previous  to  the  last  general 
fast,  the  defendants,  through  ignorance  of  the 
law,  sold  one  copy  of  the  form  of  prayer, 
appointed  to  be  used  on  that  occasion,  not 
printed  bij  authority  of  the  king's  patent. 

The  plaintiffs,  without  giving  the  slightest 
intimation  to  desist,  filed  this  bill  to  compel 
the  defendants  to  account  to  them  for  the 
profit  arising  from  the  said  sale.  Upon  being 
served  with  the  subpoena,  defendants  applied 
to  have  proceedings  staj^ed,  which  the  plain¬ 
tiffs,  after  considerable  hesitation,  agreed  to, 
on  condition  of  defendants  paying  costs  and 
making  affidavit  to  the  sale.  This  important 
cause  was  this  day  finished,  when  plaintiffs 
received  theee-pence!  the  profit  arising  from 
the  sale ;  and  when  the  attorney ,  Edward  S. 
Foss,  of  Gough-square ,  did  not  blush  to  re¬ 
ceive  £13  6s  9d  for  costs  incurred. 

N.  B.  —  Andrew  Strahan,  one  of  the  plain¬ 
tiffs,  takes  a  considerable  sum  annually,  in 
the  way  of  trade,  from  the  industrious  de¬ 
fendants,  against  whom  this  bill  was  filed, 
who  now  publish  this  case  for  the  purpose 
of  cautioning  the  public  against  a  similar  of¬ 
fense,  and  that  the  liberal  character  of  Mr. 
Strahan  may  be  generally  known. 

Perhaps  this  is  the  only  case  which  has 
ever  occurred  in  the  history  of  law,  of  a  bill 
in  chancery  having  been  filed  to  recover  so 
small  a  sum  as  three-pence,  and  deserves  to 
be  recorded  in  the  future  editions  of  the  “Cu- 
EiosiTiES  OP  Literature”  as  an  elucidation 
of  the  old  law-adage :  “  Summum  jus  summa 
injuria .” 


14 


164 


PRINTER’S  MANUAL  . 


LYNCH . 

BARNARD. 

Folios . 

Pages . 

Nonpareil . 

Pages . 

Nonpareil . 

5 

* 

G 

* 

6 

7 

* 

12 

8 

* 

11 

9 

* 

10 

10 

* 

5 

11 

12 

Yz 

1  12 

* 

14 

i  13 

* 

13 

14 

* 

7 

15 

}i 

Vz 

2 

!  10 

* 

23 

* 

11 

1 

:  18 

* 

25 

19 

0 

Yz 

'  20 

Y 

20 

1  21 

* 

5 

oo 

* 

1 

23 

* 

24 

* 

:  25 

* 

1 

2G 

* 

27 

* 

28 

* 

THE  SCHEDULE. 

In  the  margin  is  given 
a  very  convenient  form  of  a 
schedule,  used  by  compositors 
to  keep  a  correct  account  of 
the  number  of  pages  composed 
by  them,  as  ivell  as  by  the 
proprietor  or  foreman ,  in  order 
that  they  may  ascertain,  when¬ 
ever  it  may  be  necessarj’,  how 
far  the  work  has  been  made 
up,  as  well  as  to  rectify  the 
bills  of  the  compositors,  if  it 
be  required. 

The  first  column  indicates 
the  folios  of  the  work ,  and 
the  remaining  columns,  under 
the  names  of  the  compositors, 
are  intended,  the  first,  under 
each,  showing  to  whom  the 
jiage  belongs,  and,  the  other, 
the  number  of  nonpareil  lines, 
or  other  extra  matter,  if  there 
be  any,  in  the  page. 

If  there  be  two  works  in 
progress,  at  the  same  time, 
the  title  of  each  should  be 
written  on  the  schedule  which 
belongs  to  it,  to  obviate  con¬ 
fusion  . 

At  the  end  of  each  week, 
a  line  should  be  drawn  across 
the  schedule  at  the  last  page 
marked,  and  the  date  and  the 
word  “charged”  written  in  the 
margin . 

After  the  work  is  finished, 
the  schedules  should  be  put 
away,  so  that  they  could  be 
referred  to  again,  if  necessary. 


\ PEESS  WOEK. 

Having  gone  regularly  through  all  the  departments  of 
composition,  the  next  thing  to  be  considered  is  press- work; 
under  which  heading :  the  requirements  of  a  good  press , 
making  ready  the  form ,  the  manufacture  of  rollers  and 
keeping  them  in  proper  order  for  the  performance  of  fine 
work,  and  other  things  belonging  to  this  department,  will 
be  taken  up  and  described  in  consecutive  order.  It  will 
not  be  necessary  to  give  any  information  as  to  the  mode 
of  printing  the  coarser  kinds  of  work ;  because ,  if  a  man 
can  make  ready  and  work  off  a  form  of  the  first  kind,  it 
will  be  still  easier  for  him  to  do  the  other. 


THE  PEESS. 

Within  the  last  ten  years  there  has  been  an  entire 
revolution  made  in  the  printing-business  by  the  application 
of  machinery  to  the  execution  of  all  kinds  of  press- work. 
Previous  to  that  period  every  thing,  with  the  exception  of 
a  small  number  of  newspapers,  was  printed  at  the  hand- 
press;  because  it  was  generally  believed,  by  those  who 
were  supposed  to  be  competent  judges,  that,  for  job-  and 
book- work,  the  speed  should  not  exceed  a  certain  rate,  or 
else  the  appearance  of  the  work  would  not  come  up  to 
the  standard  of  good  workmanship. 

The  ideas  that  seem  to  have  been  the  cause  of  this 
were  the  known  facts,  that,  in  order  to  do  fine  work,  it 
was  necessary,  when  the  rollers  passed  over  the  form,  the 
motion  should  be  slow  enough  to  allow  the  ink  to  cover 
the  face  of  the  types,  and  when  the  bed  and  platen  came 
together  they  should  remain  in  that  position  long  enough 
to  allow  the  ink  time  to  be  transferred  from  the  form  to 
the  sheet  of  paper.  These  were  correct  enough;  but  there 
are  other  parts  of  the  operation  which  can  be  facilitated 


166 


PRINTER’S  MANUAL: 


without  having  any  detrimental  effect:  these  are,  the 
movements  of  the  sheet  before  and  after  the  impression 
is  made,  and  the  separation  and  coming  together  of  the 
bed  and  platen  after  they  have  remained  together  long 
enough  to  make  a  slight  d\vell  on  the  form. 

In  the  smaller  sizes  of  printing-machines,  made  for 
job-work,  the  bed  or  platen  generally  works  on  a  centre; 
the  consequence  of  which  is,  that  the  types  strike  on  the 
side  nearer  to  that  point  before,  and  leave  it  after,  they 
do  the  outer  side,  thereby  having  a  tendency  to  throw  the 
form  off  its  feet.  In  making  a  selection  of  a  press  of  this 
kind,  it  must  be  borne  in  mind  that  the  farther  the  centre 
of  motion  is  from  the  centre  of  the  bed  or  platen,  the 
less  will  be  the  liabilit}’  to  this  inconvenience. 

The  press,  whatever  kind  used,  should  be  in  the  best 
condition;  the  bed  and  platen  being  perfect  planes,  and  all 
parts ,  such  as ;  slides  and  centres ,  being  made  so  that 
they  would  have  no  lateral  motion.  If  they  have,  it  will 
affect  the  register  in  a  book-form ,  which  will  disfigure  the 
appearance  of  tlie  work ;  slurs  and  doubles  are  also  liable 
to  ensue.  The  most  certain  way  of  obviating  this  is,  to 
have  the  journals  a  little  larger  than  the  boxes  in  which 
they  move,  so  that  they  can  be  tightened,  at  any  time, 
if  it  should  be  found  necessary  to  do  so. 

In  putting  together  the  several  parts  of  a  printing-press, 
it  very  often  happens  that,  if  the  pieces  be  in  pairs,  they 
get  transposed:  for  example,  the  legs  of  a  hand-press. 
This  should  never  happen,  because  the  press-maker  fits 
each  piece  to  its  proper  position ,  and ,  should  they  become 
misplaced,  they  will  be  the  cause  of  much  trouble  in 
getting  them  correct.  This  can  be  avoided  by  observing 
that  tlie  parts  which  are  intended  to  be  placed  in  contact 
are  always  marked  with  similar  figures,  an  equal  number 
of  iwints,  or  some  other  convenient  symbol. 


THE  TYMPAN. 

The  material  used  for  the  tympan  varies  with  the  kind 
of  work  intended  to  be  executed,  linen  being  used  for 
handbills  and  the  common  kinds  of  book-work,  and  parch¬ 
ment  for  any  of  which  it  is  the  intention  to  get  an  even 


PRESS-WOKK. 


167 


and  sharp  impression.  The  parchment  should  he  thin  and 
uniform  in  thickness,  and  stretched  on  the  frame  in  such 
a  manner  as  not  to  draw  it  out  of  shape,  neither  should 
it  he  so  loose  as  to  hang  in  the  frame.  The  way  to 
attain  this  is  to  paste  the  parchment  on  the  frame  without 
being  dampened,  and,  after  the  pasted  edge  is  thoroughly 
dry,  to  sponge  the  remainder  of  the  parchment,  which 
will  bring  it  to  the  required  tension.  Silk  is  also  used  for 
making  tympans  with  which  to  print  fine  work,  and  it 
will  be  found  better  than  any  thing  else,  on  account  of  its 
thinness,  smoothness,  and  uniformity  of  texture. 

.  Tympan-frames  are  sometimes  made  with  a  strip  of 
leather  fastened  on  the  inner  edge,  in  which  eyelets  are 
pierced,  so  that  the  tympan  can  be  laced,  in  its  place, 
with  a  small  cord,  instead  of  being  pasted.  If  the  tympan 
be  put  on  in  this  manner,  care  must  be  taken  that,  in  the 
running  in  and  out  of  the  bed,  the  part  of  the  cord  which 
runs  through  the  iron  stay  across  the  front  of  the  frame  is 
not  cut  by  the  edge  of  the  platen. 


THE  IHK. 

The  color  of  the  ink  must  depend  on  the  taste  or  fancy 
of  the  printer.  Leaving  the  particular  shade  or  tone  out 
of  the  question,  we  will  state  our  opinion  as  to  what  the 
qualities  of  black  printing-ink  should  be  for  fine  work  : 

Intenseness  of  color. 

Impalpability . 

Covering  the  surface  of  the  types  or  engraving  perfectly. 

Quitting  the  surface  of  the  types  or  engraving,  when 
the  paper  is  pressed  on  it,  and  adhering  to  the  paper. 

Not  smearing  after  it  is  printed. 

Retaining  its  first  appearance  without  any  change. 

Ink  ought  to  be  reduced  to  an  impalpable  smoothness, 
either  in  a  mill  or  on  a  stone  with  a  muller;  and  this  is 
essentially  necessary,  as  the  process  gives  it  the  next 
quality:  of  completely  covering  the  surface  of  the  types, 
or  the  lines  of  the  engraving,  and  that  with  the  smallest 
quantity;  and,  with  proper  care  in  printing,  presents  to 
the  eye  an  impression  in  which  the  edges  of  the  lines  are 
smooth  and  perfect,  and  the  surface  of  the  impression  on 


168 


PRINTER’S  MANUAL  : 


the  paper  is  completely  covered  with  ink,  without  any 
supertluity ;  which  constitute  the  perfection  of  press- work 
with  types. 

Another  property  required  in  ink  is,  that  it  shall  not 
only  cover  the  surface  of  the  lines  on  the  paper  printed, 
hut  that  it  should  also  quit  the  face  of  the  engraving  or 
types,  and  leave  the  form  quite  clean  w’hen  the  paper  is 
pressed  on  it,  and  attach  itself  to  the  paper,  so  as  to  give 
a  perfect  impression,  without  the  color  of  the  paper  appear¬ 
ing  through  the  ink;  and  that  this  property,  of  quitting 
the  types  or  engraving,  and  becoming  attached  to  the 
paper,  shall  continue  the  same  through  any  number  of 
impressions,  without  any  accumulation  of  ink  upon  the 
surface  printed  from. 

After  having  obtained  these  results,  and  when  the 
printing  is  as  perfect  as  it  can  be  made  by  workmanship, 
still  something  more  is  required :  viz. ,  that  the  ink  shall 
not  smear  on  being  slightly  rubbed;  and  that  it  shall 
retain  its  color  and  appearance,  without  the  oil  of  the  ink 
spreading  at  the  edges,  or  tinging  the  paper  —  in  short, 
that  it  shall  continue  unchanged  for  any  length  of  time, 
thus  preserving  and  continuing  the  beauty  of  the  work. 

THE  PAPER. 

The  quality  of  the  paper  is  of  great  consequence  in 
fine  printing,  but  it  is  frequently  overlooked;  because  the 
purchiiser  is  more  apt  to  pay  attention  to  a  showy  appear¬ 
ance  and  a  low'  price,  than  to  quality. 

If  the  fabric  of  the  paper  be  cotton,  and  the  ink  is 
stiff,  at  each  impression  some  of  the  fibres  will  be  drawn 
out  of  the  paper,  w'hich  will  get  on  the  rollers,  and  become 
mixed  with  the  ink.  For  this  reason,  it  is  always  better, 
if  the  paper  be  not  of  the  best  quality,  to  use  ink  of  a 
tenacity  in  proportion  to  the  texture  of  the  paper. 

For  the  generality  of  book-work  the  paper  is  usually 
dampened  before  it  is  printed.  There  are  two  methods  of 
doing  this:  dipping,  and  sprinkling. 

Paper  for  various  works  being  of  different  qualities,  it 
is  impossible  to  form  a  regular  judgment  of  how  many 
dips,  in  each  quire,  all  sorts  of  paper  need;  therefore,  the 


PRESS-WORK. 


169 


pressman  must  be  cautious  in  examining,  while  wetting, 
whether  each  sort  is  of  a  soft,  spongy,  middling,  hard,  or 
harsh  nature;  he  must  consider,  also,  whether  it  he  for  a 
light  or  a  heavy  form,  and  dip  each  sort  accordingly. 

If  the  paper  be  so  soft  that  it  will  be  necessary  to  dip 
the  quire  but  once,  it  must  be  taken  hold  of  by  the 
middle  of  the  back  with  one  hand,  and  at  the  fore-edge 
with  the  other,  and  drawn  quickly  through  the  water,  the 
back  first.  It  is  then  to  be  laid  on  a  paper- board,  and, 
after  being  opened,  the  remainder  must  be  treated  in  like 
manner . 

Should  the  paper  need  two  dips  to  the  quire,  the  outer 
half  of  it  must  only  be  opened  when  laid  on  the  board, 
and  the  other  half  c^n  then  be  lifted  and  drawn  through 
the  water  again. 

If  the  paper  be  flat-cap,  or  any  larger  size  of  writing- 
paper,  on  which  the  headings  for  blank-books  are  to  b^e 
printed,  it  can  not  be  dipped;  because  the  water  would 
enter  between  the  edges  of  the  sheets  and  cause  the  side 
which  first  entered  the  water  to  be  dampened  more  than 
the  other.  When  paper  of  this  kind  is  to  be  dampened, 
it  must  be  taken,  eight,  twelve,  or  sixteen  sheets  at  a 
time,  according  to  its  quality  and  texture,  and  sprinkled, 
by  using  a  fine-grained  sponge,  or  some  similar  article. 

After  the  water  has  become  thoroughly  soaked  into  the 
paper,  the  pile  must  be  turned,  a  few  sheets  at  a  time, 
so  that  any  wrinkles  which  may  have  been  made  can  be 
straightened,  as  well  as  to  allow  the  water  to  become 
more  evenly  distributed  throughout  the  pile.  The  paper 
should  next  be  put  in  the  standing- press ,  with  a  board 
between  every  five-hundred  sheets,  and  allowed  to  remain 
under  a  heavy  pressure  for  five  or  six  hours,  when  it  will 
be  ready  for  printing. 

When  paper,  for  book-  or  job-wdrk,  has  a  glazed 
surface ,  it  should  not  be  dampened ;  because  the  least 
amount  of  water  put  on  the  surface  of  such  paper  will 
destroy  its  appearance. 

When  diplomas  or  deeds  are  to  be  printed  on  parch¬ 
ment,  the  harshness  of  the  skins  must  be  taken  out,  by 
putting  them  between  damp  sheets  of  paper,  care  being 
taken,  at  the  same  time,  that  the  parchment  does  not 
oecome  so  wet  as  to  destroy  the  polish  on  the  surface. 


170 


PRINTER’S  MANUAL: 


MAKING  READY  THE  FORM, 

This  term  implies :  the  process  of  laying  the  form  on 
the  press ;  fixing  it  in  its  place ;  putting  the  tympan-sheet 
on  the  tympan;  placing  the  points  to  make  register,  when 
both  sides  of  the  paper  are  to  he  printed;  making  register; 
preparing  the  frisket ;  and  producing  an  equal  impression 
from  all  the  pages,  and  from  every  part  of  each  page.  If 
an  engraving  is  to  he  printed,  it  also  denotes  the  manner 
of  overlaying  it,  so  as  to  produce  an  impression,  which 
shall  possess  all  the  effect  that  the  subject  may  require. 
As  machine-presses  vary  so  much  in  construction,  directions 
can  not  be  given  which  will  apply  to  all ;  for  this  reason 
the  hand-press  will  be  the  one  for  which  the  method  will 
be  described;  from  which  it  will  be  easy  to  vary  so  as 
to  perform  the  operation  for  any  other  kind. 

In  common  work,  where  dispatch  is  necessary,  thick 
blankets  are  used  in  the  tympan ;  and ,  when  the  types  are 
much  worn,  they  are  also  necessary,  to  bring  up  the  face 
of  the  letter.  It  is  too  common,  in  good  work,  to  put  an 
excess  of  blanket  into  the  tympan,  to  lessen  the  pull,  for 
the  purpose  of  easing  the  pressman’s  mm,  and  to  enable 
him  to  be  more  expeditious;  the  consequence  is,  that  the 
impression  will  show  more  than  the  surface  of  the  types 
or  engraving;  and,  thus,  what  is  gained  in  expedition  and 
ease,  is  more  than  counterbalanced  by  the  imperfect  and 
rough  impression  that  is  produced. 

ROOK -WORK. 

In  making  ready  a  form  for  book-work :  lay  it  on  the 
bed  of  the  press  so  that  it  will  come  precisely  under  the 
centre  of  the  platen;  quoin  it  all  round;  fold  the  tympan- 
sheet  according  to  the  form  laid  on  the  press;  lay  it  on 
the  form  so  that  the  margin  will  be  equal  on  all  sides; 
put  a  little  paste  at  each  of  the  corners,  and  w’here  the 
cross-bars  meet;  pull  a  slight  impression  on  it  to  make  it 
stick  to  the  tympan ;  put  paste  on  any  other  part  of  the 
paper  which  may  require  it,  taking  care  that  none  of  it 
is  laid  where  any  part  of  the  form  will  fall,  as  it  will 
become  hard  and  make  the  impression  uneven;  screw  on 


V  K  E  S  S  -  W  0  R  K  . 


171 


the  points,  and  make  them  fall  in  the  channel  of  the 
short-cross ,  or  the  spurs  will  he  spoiled  by  being  pressed 
against  the  Hat  part  of  the  bar. 

When  the  pressman  has  got  thus  far,  the  next  thing 
to  be  done  is  to  cut  the  frisket.  As  the  material  out 
of  which  it  is  generally  made'  is  the  wrappers  which  come 
around  the  bundles  of  printing-paper;  which  are  always  full 
of  hard  particles,  an  impression  should  never  be  pulled  on 
it,  because  it  would  injure  the  face  of  the  form.  To  get 
the  outline  of  the  pages,  cover  the  types  slightly  with  ink, 
and,  having  fastened  the  frisket  in  its  place,  lay  it  on  the 
form,  and  rub  the  back  of  the  tympan  gently,  with  the 
palm  of  the  hand,  until  the  parts  which  require  to  be  cut 
are  distinct  enough.  Having  done  this,  lay  the  frisket  on 
a  board,  and  cut  the  marked  parts  out.  It  should  not  be 
cut  close  to  the  edge;  but  about  a  nonpareil  m  outside,  so 
as  to  obviate  any  risk  of  the  edges  of  the  frisket  striking 
any  of  the  types. 

In  making  ready,  it  must  be  evident,  that  when  a  clear, 
sharp  impression  is  wanted,  the  pressure  should  be  on  the 
surface  only,  without  penetrating  into  the  interstices;  of 
course,  the  tympan  ought  not  to  be  very  soft,  neither 
should  a  woolen  blanket  be  used.  The  most  perfect 
impression  will  be  obtained  when  fine;  thick  paper  is  used 
in  the  tympan;  and  even  of  this  article  there  should  not 
be  many  thicknesses. 

After  an  impression  is  printed,  the  pressmian  examines 
if  it  be  uniform  throughout;  if  it  be;  which  is  seldom  the 
case ,  he  goes  on  with  the  work ;  if  not ;  he  proceeds  to 
overlay,  in  order  to  produce  regularity  6f  pressure,  and  of 
color,  over  the  whole  form. 

To  e'ffect  this  obje’ct,  he  takes  thin,-  sm'b'oth  paper,  and 
wherever  the  iihpression  is  weak  he  pastes  a  piece  of  it, 
of  the  size  and  shape  of  the  imperfect  part,  on  the 
tympan-she'et;  and  proceeds;  in  the  same  manner,  with 
every  part  that  is  imperfect;  he  then  pulls  another  sheet 
to  examine'  the  effect  of  his  overlays,  and  continues  to 
add  to  themi  wheVe  wanted ,  until  the  pressure  of  the 
platen  is  the  same'  in  every  part,  and  the  impression  is 
of  a  uniform  shade  bf  color. 

If  the  impression  come  off  too  strong,  in  parts,  or  at 
the  edges  or  corners  of  the  pages,  or  on  the  head-lines,  it 
15 


172 


P 11  INTER’S  MANUAL: 


will  be  necessary  to  cut  away  the  tympan-slieet  in  those 
parts,  and  if  that  does  not  ease  the  pressure  suflSciently, 
to  cut  away  the  same  parts  from  one  or  more  of  the 
sheets  that  are  within  the  t3’m2)an. 

It  is  generallj'  preferable  to  overlay  on  a  sheet  of  stout, 
smooth  paper,  inside  the  tympan,  and  particularly  where 
the  same  jiress  does  the  whole  or  a  great  part  of  a  work. 
This  sheet  is  cut  to  fit  the  interior  of  the  tympan,  so  as 
not  to  slip  about,  and  has  the  overlays  pasted  on  it  where 
wanted ,  to  bring  up  the  imjiressioii  until  it  is  nearly  equal ; 
in  all  the  succeeding  sheets  it  saves  the  pressman  a  great 
amount  of  time,  as  he  will  be  certain  that,  when  he  pulls 
a  sheet  of  another  form  of  the  same  work,  it  will  be 
nearly  correct,  and  he  will  only  have  to  place  thin  over¬ 
lays  on  the  parts  of  the  tympan-sheet,  where  they  may 
be  required,  to  make  the  impression  jjerfect,  with  very 
little  trouble.  On  the  same  principle,  where  this  method 
is  not  adopted,  preserving  and  using  the  same  tympan- 
sheet,  with  its  overlays)  will  be  more  expeditious  than 
having  to  repeat  the  operation  with  every  form. 

When  short  pages  occur  in  a  form,  the  bottoms  of 
them,  and  the  edges  of  the  adjoining  pages,  will  print  too 
hard,  and  not  make  a  clear  impression;  it  will,  therefore, 
be  necessaiy  to  have  bearers  to  protect  them,  which  are 
generalh’  made  of  reglet  and  pasted  on  the  frisket,  so  as 
to  bear  on  some  part  of  the  furniture  or  chase. 

When  the  form  is  not  of  the  full  size  of  the  press, 
ti'pc-high  bearers  should  be  placed  outside  the  chase,  in 
such  a  position  that  the  ends  of  the  rollers  will  not  touch 
them  when  the  form  is  inked;  because,  if  anj’  of  the  ink 
should  get  on  the  bearers,  it  will  tear  the  frisket  and  soil 
the  tympan.  The  impression  on  the  form  can  be  regulated, 
when  this  kind  of  bearers  are  used,  bj'  putting  pajier  or 
thin  cards  under  the  ends  of  the  bearers  at  anj'  side  where 
it  ma\'  be  necessary. 

It  happens,  sometimes,  that  the  tympan  causes  the 
jiaper  to  touch  the  form  partially,  on  being  turned  down. 
This  maj’  occur  from  the  tympan  being  slack  or  the  paper 
being  thin  and  soft.  To  prevent  this  inconvenience,  cut 
a  piece  of  cork  so  that,  when  it  is  laid  on  the  furniture, 
it  will  be  a  little  higher  than  the  face  of  the  types;  place 
it  on  the  piece  of  fiuiiiture  next  the  part  of  the  matter 


PRESS-WORK. 


173 


which  slurs,  and,  having  put  a  little  paste  on  its  upper 
side,  it  will  become  attached  to  the  frisket  when  the  next 
impression  is  pulled.  The  cork  will  hold  the  paper  a  little 
above  the  types  until  the  pressure  of  the  platen  comes 
upon  it,  when,  on  account  of  its  elastic  nature,  it  will  give 
way,  until  the  pressure  is  removed. 

Register  must  be  made  before  commencing  to  print  the 
form,  no  matter  whether  it  be  whole-  or  half-sheet  work. 
After  the  points  have  been  made  to  strike  in  the  centres 
of  the  grooves,  pull  an  impression,  and,  if  the  form  be  an 
octavo,  or  any  other  form  which  is  printed  in  a  similar 
manner,  turn  the  sheet  over,  so  that  the  edge  which  w'as 
at  the  top  of  the  tympan  will  be  at  the  bottom;  then  put 

the  spurs  of  the  points  into  the  holes  in  the  sheet  of 

paper,  and  pull  another  impression.  If  the  points  be  in 
their  places,  the  pages  and  lines  will  back  each  other,  and 
the  work  can  be  proceeded  with;  but,  if  they  do  not, 

one  or  the  other,  or  both  of  them,  must  be  moved  up  or 

down,  as  circumstances  may  require.  If  the  sheet  does 
not  register,  after  the  second  side  is  pulled,  leave  it  on 
the  tympan  and  observe  in  which  direction  it  is  out  —  the 
first  or  under  impression  being  the  one  on  which  the 
direction  of  the  movement  of  the  points  will  depend. 
Suppose  it  be  found  that  the  lower  corner  next  the  press¬ 
man  is  out  of  register,  a  pica  m,  the  first  impression  being 
the  lowest ;  the  point  at  that  side  must  be  moved  upward 
a  nonpareil  m ,  or  half  the  distance ,  which  will  bring  it  to 
itei  proper  position.  Print  another  sheet,  on  both  sides, 
and  examine  as  before,  and,  if  the  register  be  correct,  the 
pressman  can  go  on  with  the  w'ork. 

When  octavo  forms,  or  any  other  that  turn  in  like 
manner,  are  worked  at  the  hand-press,  the  points  need 
not  be  of  equal  lengths,  as  they  must  be  when  the  sheet 
turns  as  in  duodecimo;  in  fact,  it  will  be  better  to  have 
the  farther  point  three  or  four  inches  longer  than  the 
other,  as  it  will  save  a  great  amount  of  reaching,  in  the 
course  of  a  day,  beside  obviating  the  risk  of  printing  any 
of  the  paper  wrong,  which  sometimes  happens,  because  it 
is  laid  up  incorrectly  for  the  second  side. 

In  working  the  first  side  of  the  paper,  pins  are  often 
stuck  into  the  tympan  to  keep  the  sheets  from  slipping. 
This  should  not  be  done,  because,  in  a  short  time,  it  will 


174 


I’llINTEK’S  MANUAL  : 


wear  holes  in  the  tympan,  and  render  it  useless.  Instead 
of  doing  this,  a  ihece  of  a  card  should  he  cut,  in  the 
shape  of  a  duck’s  bill,  and  pasted  at  the  foot  of  the 
tympan-sheet  so  that  the  tongue  will  project  in  front  of  it, 
and  keep  the  sheet  of  paper  from  slipping,  during  the 
act  of  turning  the  frisket  and  tympan  down  on  the  form. 

In  proceeding  with  the  ^vork,  the  rollers  should  bo 
kept  perfectly  clean  from  dirt,  particles  of  paper,  or  other 
extraneous  matter. 

The  ink  ought  to  be  rubbed  out  thin  and  regular,  on 
the  block,  so  that,  when  first  put  on,  it  shall  be  diffused 
tolerably  smooth  on  the  surface  of  the  rollers;  this  being 
more  likely  to  produce  good  imjiressions.  It  is  advisable, 

also,  to  keep  rubbing  the  ink  out  on  the  block  with 

the  braycr,  and  to  distribute  the  rollers  as  much  as 
possible ;  because  constant  friction  generates  a  slight  amount 
of  warmth,  which  is  of  advantage,  especially  when  the 
weather  is  cold. 

In  taking  ink,  it  should  be  put  on  the  back  roller; 

because  it  can  be  distributed  faster,  and  with  more  ease, 

than  if  it  were  laid  on  the  front  roller  and  had  to  traverse 
the  circumference  of  the  cylinder  before  coming  in  contact 
with  the  other. 

As  uniformity  of  color  is  requisite  for  beauty  in  print¬ 
ing,  the  pressman  should  take  ink  for  every  impression, 
where  the  form  is  large;  this  may  be  thought  troublesome, 
but  there  is  no  other  way  of  keeping  up  the  regularity  of 
color  which  should  pervade  good  ^\■ork .  There  is  nothing 
which  looks  worse,  than  to  see  two  pages  that  face  each 
other,  the  one  of  a  full  black,  rather  surcharged  with  ink, 
and  the  other  deficient  in  quantity  and  of  a  gray  color; 
yet  this  must  happen,  when,  as  is  frequently  the  case, 
three  or  four  sheets  are  pirinted  between  each  time  of 
taking  ink. 

Rolling,  for  fine  work,  should  not  by  any  means  be 
slighted.  The  form  ought  to  be  gone  over  three  or  four 
times,  when  a  pair  of  rollei-s  are  used.  The  motion  should 
be  slow  and  uniform;  for,  if  they  be  made  to  go  over  one 
part  of  a  forai  more  quickly  than  another,  that  portion 
will  receive  less  ink,  and,  consequently,  the  impression 
from  it  will  be  paler  than  that  from  the  part  which  has 
been  rolled  more  slowly. 


PKESS-WORK. 


175 


The  cylinder  should  be  of  cast-iron,  or  some  other 
material  upon  which  water  would  have  no  effect;  for, 
if  it  be  made  of  wood,  its  surface  will,  in  a  short  time, 
become  rough  and  uneven,  on  account  of  the  water  getting 
Into  its  pores,  when  being  washed. 

In  the  more  particular  kinds  of  work,  where  the  paper 
is  heavy  and  the  types  are  large,  set-off  sheets  are  used 
to  interleave  the  whole  impression,  while  working,  and  are 
continued  in  it  until  the  printed  paper  is  taken  down  from 
the  poles,  and  put  in  the  standing-press.  These  set-off 
sheets  are  put  in  when  the  white  paper  is  working,  and 
moved  from  one  heap  to  the  other  during  the  printing  of 
the  second  side.  They  prevent  the  ink  setting  off  from 
one  sheet  to  another,  while  they  are  newly  printed,  which 
it  would  be  likely  to  do,  on  account  of  the  weight  of  the 
paper,  and  also,  because  fine  printing  is  usually  worked  of 
a  full  color. 

It  will  thus  he  perceived  that,  to  produce  press- w’ork 
of  a  highly  superior  character,  great  expense  and  much 
time  is  required;  and  that  it  is  necessary  to  have  a  good 
press;  to  have  new  types,  or  types  the  faces  of  which  are 
not  rounded  by  wear;  to  have  the  rollers  in  the  best  con¬ 
dition;  the  ink  should  be  strong,  of  a  full  black  color, 
the  oil  well  burned,  to  prevent  it  separating  from  the 
coloring-matter  and  tinging  the  paper,  and  it  should  be 
ground  so  fine  as  to  be  impalpable;  the  paper  should  be 
of  the  best  quality,  made  of  linen  rags,  and  not  bleached 
by  means  of  an  acid  which  has  a  tendency  to  decompose 
the  ink;  the  rolling  should  be  carefully  and  well  done, 
not  in  a  hurried  manner,  the  face  of  the  types  should  be 
completely  covered,  without  any  superfluity,  so  as  to  pro¬ 
duce  a  full  color;  and  the  pull  should  be  so  regulated  as 
to  have  a  slow  and  hard  pressure,  and  to  pause  at  its 
maximum  in  order  to  fix  the  ink  firmly  upon  the  paper. 
These  particulars  observed,  with  paper  only  in  the  tympan, 
perfectly  sharp  impressions  of  the  face  of  the  tyjres  will 
be  obtained. 

After  the  form  has  been  worked  and  lifted  from  the 
press,  the  ink  on  its  surface  should  be  loosened  with  ley, 
and  thoroughly  rinsed  off  with  water.  The  brush  used 
for  this  purpose  should  have  the  hair  about  two  inches  in 
length,  and  they  should  be  set  closely  together. 


176 


PRINTER’S  MANUAL  : 


ENGRAVINGS. 

When  the  workman  puts  the  block  on  the  press,  he 
ought  to  be  very  gentle  in  the  pull  of  the  first  impression, 
to  prevent  an  accident,  which  has  frequently  occurred  from 
thoughtlessness  in  this  particular,  by  making  the  pull  too 
hard,  and  crushing  some  of  the  lines;  by  avoiding  this  he 
will  be  safe,  and  can  proportion  the  impression  to  the 
subject.  The  only  correct  manner  of  doing  this  is,  to 
knock  all  the  impression  otf,  after  which  it  should  be  jjiit 
on,  a  little  at  a  time,  until  the  lightest  part  of  the  cut 
comes  up  with  a  proper  degree  of  shaipness;  then  the 
heavier  portions  can  be  overlaid  until  the  requisite  amount 
of  pressure  is  produced . 

The  pressman  should  examine,  previous  to  pulling, 
that  there  be  nothing,  such  as  gauges  or  the  like,  on  the 
tympan,  which  would  strike  on  the  block.  Accidents 
of  this  kind  sometimes  happen,  which  either  destroy  the 
cut  or  else  cause  great  trouble  to  the  engraver,  as  well  as 
loss  of  time  and  disapjpointment ;  beside  these  it  entails  a 
character  of  carelessness  on  the  p)rinter. 

In  imposing  a  single  block,  where  the  press  is  large  at 
which  it  is  to  be  worked,  it  will  be  in  danger  of  springing 
out  of  the  chase  while  being  rolled,  on  account  of  the 
quantity  of  furniture  placed  about  it.  It  is  a  good  remedy 
to  impose  it  in  a  job-chase,  and  to  impose  this  chase 
again  in  a  larger  one :  this  will  cause  the  block  to  remain 
flat  and  firm  on  the  press  when  the  roller  passes  over  it; 
as  the  small  chase  can  be  locked  up  tightly  in  the  large 
one,  without  having  too  much  furniture,  and  the  outer 
one  can  be  secured  firmly  on  the  press  by  quoins. 

Neither  the  pressure  nor  the  imporession  in  an  engraving 
should  be  uniformly  equal:  if  they  be,  the  effect  that  is 
intended  to  be  produced  by  the  artist  will  fail ;  and  instead 
of  light,  middle-tint,  and  shade,  an  impression  will  be 
produced  that  possesses  none  of  them  in  perfection ;  some 
parts  will  be  too  hard  and  black ,  and  other  parts  have 
neither  p^ressure  nor  color  enough ,  with  obscurity  and 
roughness,  and  without  any  of  the  mildness  of  the  middle- 
tint,  which  ought  to  piervade  every  part  of  an  engraving, 
on  which  the  eye  reposes  after  viewing  the  strong  lights 
and  the  deep  shades. 


PRESS-WORK. 


177 


To  produce  the  desired  effect,  great  patience  and  nicety- 
are  required  in  the  pressman.  A  single  thickness  of  india- 
paper,  which  is  the  best  paper  for  overlaying  engravings, 
is  frequently  required  over  very  small  parts,  with  the 
edo-es  of  it  scraped  down,  for  it  is  advisable  that  the 
overlay  should  never  be  cut  at  the  edges,  but,  even  where 
crreat  delicacy  of  shape  is  not  required,  that  it  should  be 
torn  into  the  form  wanted,  which  reduces  the  thickness 
of  the  edges,  and  causes  the  additional  pressme  to  blend 
with  the  surrounding  parts. 

Some  portions  of  the  impression  will  frequently  come 
up  much  too  strong,  and  others  too  weak :  it  will  then 
be  necessary  to  take  out  from  between  the  tympans  a 
thickness  of  paper,  and  add  an  additional  tympan-sheet , 
cutting  away  those  parts  that  come  off  too  hard ,  and 
scraping  down  the  edges .  Scraping  away  half  the  thick¬ 
ness  of  a  tympan-sheet  in  small  parts  that  require  to  he  a 
little  lightened  will  improve  the  impression. 

The  light  parts  require  little  pressure,  but  the  deep 
shades  should  be  brought  up  so  as  to  i)roduce  a  full  and 
firm  impression . 

If  a  block  be  too  low,  it  is  advisable  to  underlay  it, 
for  the  pmpose  of  bringing  it  to  the  proper  hight,  in 
preference  to  making  use  of  overlays;  for  they  act,  in 
some  measure,  as  blankets,  being  pressed  into  the  blank 
places,  and  rendering  the  lines  broader  than  they  are  in 
the  engraving. 

It  will  he  necessary,  sometimes,  when  the  surface  of 
the  block  is  very  uneven,  to  tear  away  parts  of  the  paper 
in  the  tympan,  to  equalize  the  impression  where  it  is 
too  hard . 

The  pressman  will  find  it  convenient  to  pull  a  few 
impressions,  while  he  is  making  ready,  on  india-paper;  for 
out  of  these  he  can  cut  overlays  to  the  precise  shape  and 
size  that  is  wanted,  as  he  will  find  it  frequently  necessary 
to  do  in  instances  where  great  accuracy  is  required  in  over¬ 
laying  particular  portions;  and  in  these  instances  he  can 
not  do  well  without  a  sharp  penknife  and  a  pair  of  good 
small  scissors. 

Engravings  that  are  in  the  vignette  form  require  great 
attention,  to  keep  the  edges  light  and  clear,  and  in  general 
it  is  necessary  to  scrape  away  one  or  t-wo  thicknesses  of 


178 


PRINTER’S  MANUAL  : 


paper,  in  order  to  lighten  the  impression  and  keep  it 
clean;  for,  the  edges  being  irregular,  and  parts,  such  as 
small  branches  of  trees,  leaves,  etc.,  straggling,  for  the 
purpose  of  giving  freedom  to  the  design,  they  may  come 
oft'  too  hard,  and  are  liable  to  picks,  which  give  great 
trouble,  and  are  difficult  to  be  avoided. 

Type-high  bearers  should  be  used,  when  printing  an 
engraving  or  any  other  light  job,  to  keep  the  impjression 
from  bearing  harder  on  the  edges  than  on  the  centre. 
They  should  be  placed  in  such  a  position  as  not  to  be 
liable  to  get  any  ink  on  them  during  the  time  the  fomi 
is  being  worked.  If  they  can  not  be  used,  pieces  of  reglet 
or  cork,  pasted  on  the  frisket,  and  taking  a  bearing  on 
the  furniture,  must  be  substituted;  but  the  high  bearers 
are  to  be  preferred,  when  they  can  be  adopted,  because 
they  equalize  the  pressure  on  the  surface  of  the  engraving, 
and  protect  the  edges  frem  the  severity  of  the  pull,  which 
is  always  injurious  to  the  delicacy  of  the  external  lines. 
They  also  render  the  subject  more  manageable,  by  enabling 
the  pressman  to  add  to,  or  take  from,  the  pressure  on 
particular  j,arts,  so  as  to  produce  the  desired  efl'ect. 

When  great  delicacy  of  impression  is  demanded  in  a 
vignette,  it  v\ill  be  found  lenelicial,  after  the  engraving 
ha's  been  rolled,  to  take  the  superfluous  ink  from  the 
extremities,  by  using  a  small  piece  of  composition  on 
which  there  is  no  ink.  This  will  ghe  the  edges  lightness 
and  softness,  particularly  i\here  distances  are  represented. 

If  the  extremities  be  engraved  much  lighter  than  the 
central  jiarts,  underlays  should  be  pasted  on  the  middle 
of  the  block,  which  vill  give  a  firmer  impression  to  those 
central  parts  of  the  subject.  It  would  save  trouble  to 
cause  the  block  to  be  a  little  rounded  on  the  face,  as  it 
would  give  facility  in  obtaining  a  good  impression. 

When  highly-finished  engravings  are  worked  separately , 
cloth,  or  any  other  soft  substance,  should  never  be  used 
for  blankets,  as  the  impression  will  sink  into  it;  two  or 
three  thicknesses  of  smooth  hard  paper,  or  even  a  piece 
glazed  pasteboard,  placed  in  the  tympan,  is  better. ^ 

The  silk  or  parchment,  which  is  next  the  engraving, 
should  be  stretched  tightly,  and  it  should  be  thin  and  of 
uniform  texture,  so  as  to  enable  the  pressman  to  obtain 
an  impression  from  the  surface  of  the  engraving  only. 


P  11 E  S  S  -  W  0  K  K  . 


179 


The  rollers  should  be  in  the  best  condition  for  this 
kind  of  work ;  and  the  pressman  should  be  very  particular, 
in  taking  ink,  that  but  tittle  be  put  on  at  a  time,  and 
that  it  he  thoroughly  distributed  before  the  rolling  is  done, 
or  else  he  will  not  obtain  a  clear  and  uniform  impression . 

Should  a  wood-cut  be  left  on  the  bed  of  the  press  or 
on  the  stone,  for  any  length  of  time,  it  is  apt  to  become 
warped.  When  this  happens,  a  very  good  method  of 
restoring  it  to  its  original  shape  is,  to  lay  it,  face  down¬ 
ward,  upon  the  imposing-stone,  with  a  few  thicknesses  of 
damp  paper  under  it,  and  to  place  a  flat  weight  of  some 
kind  upon  it;  and,  in  the  course  of  an  hour  or  two,  the 
block  will  be  restored  to  its  former  position.  This  method 
is  preferable  to  wetting  the  block  with  water,  which  is 
often  practiced;  for  the  latter  swells  the  fine  lines  of  the 
engraving,  and  consequently  affects  the  impression.  To 
retain  the  appearance,  as  it  comes  from  the  hand  of  the 
artist,  the  block  should  never  be  wet  with  water;  and, 
for  this  reason,  when  wood-cuts  and  types  are  worked 
together,  the  engravings  should  be  taken  out  before  the 
form  is  washed. 

When  a  few  proofs  only  are  wanted  from  an  engraving, 
good  impressions  may  be  obtained,  with  very  little  trouble, 
by  taking  the  tympan  off,  and  using  three  or  four  thick¬ 
nesses  of  paper  between  the  face  of  the  engraving  and 
the  platen . 

Ley  should  never  be  used  to  clean  a  Avood-engraving. 
It  will  be  found,  in  practice,  that  spirits  of  turpentine 
take  off  the  ink  quicker,  and  affect  the  wood  less,  than 
any  other  article  used;  and  the  facility  with  which  the 
block  is  again  brought  into  a  working  state  more  than 
compensates  for  the  trifling  expense  incurred,  as  nothing 
more  is  required  than  to  wipe  the  surface  dry,  and  to  pull 
two  or  three  impressions  on  waste  paper. 

The  pressman  Avill  find  it  a  great  advantage,  if  it  be 
necessary  to  do  full  justice  to  an  engraving,  to  have  a 
good  impression  from  the  engraver,  and  place  it  before 
him  as  a  pattern,  and  then  arrange  the  overlays,  etc., 
until  he  produces  a  facsimile  in  effect ;  but  it  would 
be  more  desirable  to  have  the  artist  at  the  side  of  the 
press,  to  give  directions  in  regard  to  the  overlaying,  and 
the  pressman  should,  by  no  means,  become  impatient  on 
12 


180 


PRINTER’S  MANUAL  : 


account  of  the  tediousness  of  the  operation ,  as  he  will 
obtain  more  information  as  to  the  best  manner  of  pro¬ 
ducing  a  line  impression  by  this  than  by  any  other  means. 
It  will  also  instruct  him  how  to  meet  the  wishes  of  the 
draftsman  and  the  engraver',  with  regard  to  effect,  in  a 
way  superior  to  any  other;  and  will,  with  attention  and 
care,  ultimately  lead  him  to  excellence  in  the  printing  of 
engravings. 

Stereotype-  and  electrotype-cuts  can  be  treated  in  the 
same  way  as  wood-engravings,  as  far  as  making  ready  and 
overlaying  is  concerned ;  but  as  a  stereotj-pe  copy  is  never 
equal  to  the  original,  it  is  not  worth  the  trouble  to 
overlay  a  cut  of  this  kind.  On  the  other  hand,  an 
electrotype,  when  correctl}'  made,  being  an  exact  facsimile, 
it  should  be  worked  with  the  same  care  as  if  it  were  a 
wood-cut . 

On  account  of  the  cheapness  and  durabilitj’  of  electro¬ 
types,  they  should  ahvays  be  used  in  preference  to  the 
originals;  because,  if  an  accident  should  occur,  the  plate 
can  be  renewed  at  a  small  expense,  and  it  obviates  the 
necessity  of  keeping  water  from  the  cut,  as  it  can  be 
washed  in  the  same  manner  as  ordinary  types. 

JOB-WORK  . 

The  generality  of  printers,  to  save  time,  in  making 
jobs  ready  for  working,  use  thin  cloth  or  india-rubber  in 
the  tympan,  ■which  enables  them  to  dispense  with  a  little 
overlaving;  and,  again,  the  proprietors  often  order  such 
materials  to  be  used,  because  they  think  it  will  keep  the 
tvpes  from  wearing.  With  any  soft  article  of  this  kind 
a  fine  impression  can  never  be  obtained,  and,  it  must  be 
evident  to  any  one  who  gives  the  subject  a  moment’s 
consideration,  that  they  wear  the  types  more  than  hard 
tympans ;  as  the  india-rubber  or  cloth  ivill ,  at  each  im¬ 
pression,  sink  into  the  counters  of  the  letters,  and  draw 
the  paper  with  it,  thereb}’  causing  a  slight  lateral  motion, 
which  will  wear  the  types  more  than  any  amount  of 
direct  pressure  which  can  be  put  on  their  faces. 

Pajier  should  be  used  for  tympans,  in  printing  every 
description  of  job-work,  the  number  of  thicknesses  varying 
according  to  the  character  of  the  work.  The  impression 


PRESS-WORK. 


181 


should  be  put  on  just  enough  to  bring  up  the  types  which 
are  of  the  greatest  bight- to-paper,  and  then  the  indistinct 
lines  naust  be  underlaid,  until  the  outline  of  each  letter 
is  perfect. 

If  a  foim  be  made  ready  in  this  manner,  there  will  be 
no  danger  of  the  types  being  destroyed  by  too  hard  a 
pressure;  because,  there  is  no  more  impression  put  on  than 
is  required  to  bring  up  the  highest  types.  The  only 
danger,  in  this  method  of  making  ready,  is,  that  the 
pressman  generally  finishes  one  job  and  makes  the  first 
impression  on  another  without  altering  the  force  with  which 
the  platen  comes  against  the  form.  To  obviate  this,  the 
impression  should  be  taken  off  directly  after  the  printing 
of  one  job,  when  it  can  be  regulated,  by  degrees,  until 
there  is  a  sufficient  amount  put  on  for  the  next. 

The  paper  on  which  fine  jobs  are  printed  should  never 
be  dampened;  for,  as  the  water,  however  sparingly  used, 
has  a  deleterious  effect  on  its  surface,  it  will  injure  the 
appearance  of  the  printing. 

When  very  large  cards  are  printed,  it  Avill  be  found 
necessary,  in  order  to  ease  the  impression,  to  soften  the 
backs  of  the  cards.  The  correct  method  of  doing  this  is, 
to  place  two  cards  face-to-face,-  and  lay  them  in  damp 
paper,  as  recommended  for  parchment,  on  page  153. 

WASHING  THE  FORM. 

Although  this  has  been  mentioned  two  or  three  times, 
in  the  previous  part  of  the  work,  yet,  as  this  is  the 
proper  place  in  which  any  precaution  or  information  that 
may  be  necessary  should  be  given,  it  will  be  done  in  a 
clear  and  concise  manner. 

The  ley  used  for  the  purpose  of  cleaning  a  form  is, 
a  solution  of  alkali  in  water;  it  ought  to  be  made  of  the 
best  pearlash.  The  usual  proportion  is,  one  pound  of 
pearlash  to  a  gallon  of  soft  water ;  it  should  be  stirred 
until  the  alkali  is  dissolved,  which  will  soon  take  place. 
It  is  generally  contained  in  a  large  jar,  which  should  be 
kept  covered,  to  prevent  dirt  and  dust  getting  into  the  ley. 

If  hard  water  be  used,  it  will  require  a  greater  amount 
of  pearlash;  as  the  acid  in  the  water  will  combine  with 


182 


P 11 1 N  T  E 11’  S  MANUAL; 


some  of  the  alkali,  to  neutralize  it;  which,  of  course,  will 
have  the  effect  of  making  the  ley  weaker  than  if  soft 
water,  with  which  there  is  no  such  chemical  combination, 
had  been  used. 

Some  printers  use  potash  for  cleaning  the  types;  hut, 
as  it  has  a  tendency  to  make  the  letters  stick  together, 
it  should  not  be  employed. 

The  brush  should  be  nine  or  ten  inches  long,  by  three 
inches  broad;  and  the  hair  should  be  at  least  two  inches 
iu  length,  of  a  soft  texture,  and  set  as  closely  together  as 
possible.  By  not  having  a  good  brush,  more  t3'pes  are 
destroyed,  on  account  of  its  careless  use  in  washing,  than 
hj’  almost  anj’  other  process  through  which  thej’  are  liable 
to  be  put.  The  reason  for  this  is,  that  the  washing  is 
generally  entrusted  to  boys,  who  scrub  the  faces  of  the 
U’pes,  instead  of  rabbing  them  just  enough  to  leave  the 
ink  in  such  a  condition  that  it  could  be  separated  from 
them  by  rinsing  the  fonn  with  water. 

When  a  form  is  small,  it  may  be  rinsed  by  standing 
it  on  its  edge  in  the  trough  and  throwing  water  against 
the  faces  of  the  types;  but,  if  it  be  over  half  a  medium 
sheet,  it  should  be  laid  fiat  in  the  trough.  In  either  case, 
jdenty  of  water  should  be  used;  for,  a  little  care  in  this 
l)articular  will  always  keep  the  types  free  from  dirt. 

Sometimes  the  counters  of  the  letters  become  filled 
with  ink  before  the  working  of  the  form  is  finished.  In 
such  cases,  ley  and  water  should  not  be  used,  as  much 
time  would  be  lost  in  drying  the  types.  S^arits  of  tur¬ 
pentine  and  a  soft  brush  will  be  found  to  take  off  the 
ink  quickly,  and  the  work  can  be  proceeded  with  in  a 
few  minutes.  When  this  article  has  been  used,  a  few 
impressions  must  be  made  on  waste  paper,  to  remove  the 
oil  which  remains  on  the  tj’pes  after  the  turpentine  has 
evaporated;  though,  if  alcohol  be  at  hand,  it  will  remove 
the  oil  more  effectually. 


PEESSING  THE  SHEETS. 

The  paper  being  all  printed,  it  must  he  exposed  to  the 
atmosphere  a  sufficient  length  of  time  to  let  the  ink  set 
firmly  in  the  paper,  before  it  is  put  in  the  standing-press. 


P  R  E  S  S  -  W  0  K  K  . 


183 


The  poles,  upon  which  the  sheets  are  placed  to  dry, 
should  be  two  and  a  half  inches  wide,  and  made  of 
one-inch  white-pine.  They  should  be  placed  across  the 
room,  about  fourteen  inches  from  the  eeiling  and  nine  or 
ten  inches  apart,  resting  at  each  end  on  a  piece  of  wood 
fastened  to  the  walls  of  the  room,  in  notches  to  retain 
them  in  their  situations.  They  should  be  kept  clean, 
and,  if  they  have  not  had  paper  hung  on  them  for 
some  time,  the  dust  must  be  brushed  off  before  they  are 
again  used.  As  the  weight  of  the  paper  would  have  a 
tendency  to  bend  the  poles,  they  should  be  turned  over, 
as  occasion  may  require,  to  keep  them  straight. 

The  number  of  sheets  put,  in  one  place,  on  the  poles, 
must  be  regulated  by  circumstances.  If  the  work  be  in  a 
hurry,  or  the  poles  be  not  in  a  favorable  situation  for 
drying,  or  the  weather  be  rainy  and  the  air  charged  with 
moisture,  no  more  than  three  or  four  should  be  hung  in 
a  place;  but,  if  the  situation  be  favorable  for  drying,  and 
the  weather  be  warm,  eight  or  ten  sheets  may  be  put  in 
each  place . 

If  the  sheets  be  allowed  to  remain  on  the  poles  ten  or 
twelve  hours,  it  will,  in  most  cases,  be  found  sufficient, 
for  the  purpose  of  setting  the  ink  or  drying  the  paper. 

They  are  now  ready  to  be  put  in  the  standing- press . 
This  is  done  by  laying  up  a  press-board,  and  putting  on 
a  paste-board  and  one  of  the  sheets  of  the  work  to  be 
pressed,  alternately,  until  all  the  sheets  of  paper  are  in  the 
paste-boards.  The  pile  must  then  be  taken,  fifty  at  a 
time,  and  placed  in  the  centre  of  the  standing- press ,  with 
a  press-board  between  each  lift.  The  press  must  next  be 
screwed  down  tightly,  and  suffered  to  remain  in  that  con¬ 
dition  ten  or  twelve  hours ;  when  it  will  be  found  that  the 
sheets  are  as  smooth  as  they  were  before  being  run  through 
the  press. 

When  highly-glazed  paper  is  printed,  the  ink  is  liable 
to  be  transferred  from  the  sheets  to  the  paste-boards.  In 
such  cases  sheets  of  common  printing-paper  should  be  put 
between  them. 

If  it  be  wished  to  give  the  surface  of  the  print  a  glossy 
appearance,  instead  of  proceeding  according  to  the  above 
method,  each  sheet  of  paper  should  be  put  between  two 
sheets  of  zinc,  to  the  number  of  twenty-five,  and  run 


184 


PRINTER’S  MANUAL  : 


forward  and  back,  three  or  four  times,  between  iron  rollers 
similar  to  those  of  a  copper-plate  press.  This  will  be 
found  to  give  jobs  done  in  gold  and  silver  a  brilliancy 
which  can  not  be  obtained  by  the  former  mode  of  pressing. 

Still  another  way  is,  to  put  the  sheets  of  printed  paper 
between  sheet-iron  pressing- lx)ards ,  which  have  been  heated 
previously ;  and  then  the  Avhole  is  subjected  to  the  power 
of  a  hydraulic  press. 

Although  the  last  method  mentioned  is  the  best,  it 
can  not  come  into  general  use,  on  account  of  the  expense 
and  tediousness  of  the  process.  When,  therefore,  work  is 
to  be  pressed  in  a  manner  superior  to  that  which  can  be 
done  by  the  common  standing- press,  the  sheets  of  zinc  and 
roller-press  can  be  used  with  advantage. 


MAKING  KOLLERS. 

B}’  the  introduction  of  composition  instead  of  the  pelts, 
used  formerly,  there  has  been  an  entire  revolution  effected 
in  the  performance  of  press-work.  But  for  this  article, 
machine-prii.ting  would  never  have  been  accomplished,  as 
all  the  hrst  attempts  were  made'  with  rollers  coated  with 
skins,  and  all  failed,  owing  to  the  inability  of  making 
them  without  leaving  a  seam  where  the  skin  was  joined. 

Almost  every  printer  has  his  opinion  in  reference  to 
making  rollers;  but  it  will  be  found  that  if  the  following 
directions  are  attended  to,  the  rollers  will  be  better  and 
last  longer  than  if  made  by  any  other  method  ; 

THE  KETTLE. 

This  must  be  a  double  vessel  like  a  glue-kettle,  so  that 
the  composition  in  the  interior  may  be  melted  by  the  heat 
of  the  boiling  water  in  the  exterior.  The  vessels  should 
be  so  proportioned  in  size  that  the  one  which  contains  the 
composition  would  have  two  inches  of  water  between  it 
and  the  fire.  This  can  be  accomplished  by  having  a  collar 
on  the  outer  vessel  and  a  flange  on  the  inner  one,  which 
will  fit  together  and  hold  the  inside  kettle  at  the  correct 
distance  from  the  other.  For  convenience  in  lifting,  both 
of  the  kettles  should  have  handles  on  each  side,  and  the 


PE3ESS-W0RK. 


185 


inner  one  should  have  a  large  lip,  to  facilitate  the  pouring 
of  the  composition  into  the  mould .  Both  of  the  vessels 
should  he  made  of  copper,  as  it  will  last  longer  than  tin. 

PEEPAKING  THE  COMPOSITION. 

The  glue  from  Avhich  rollers  are  made  should  he  of 
the  best  quality — thin,  transparent,  and  brittle;  it  should, 
also,  be  free  from  any  extraneous  matter. 

The  molasses  should ,  also ,  be  of  the  best  quality :  that 
is,  it  should  be  free  from  any  watery  ingredient,  and  not 
liable  to  granulate.  In  the  first  case,  the  Avater  will 
evaporate  and  leave  a  hard  skin  on  the  surface  of  the 
rollers;  and,  in  the  second,  the  sugar  will  crystallize  and 
make  the  composition  rotten. 

It  will  be  found  that  the  above  articles,  without  any 
admixture,  such  as:  chloride  of  lime,  sal-ammoniac,  tar, 
paris- white,  or  any  other  material,  will  make  good  rollers, 
the  only  thing  necessary  being,  that  care  is  taken  in  the 
manufacture. 

Before  the  glue  is  put  into  the  kettle  to  be  melted  it  is 
usual  to  soak  it  in  water,  so  that  the  heat  will  dissolve 
it  sooner  than  it  would  if  it  were  in  the  dry  state.  But 
care  must  be  taken,  in  doing  this,  that  too  much  water  is 
not  left  in  the  glue,  as  it  will  evaporate,  in  a  short  time, 
and  leave  a  hard  skin  on  the  surface  of  the  roller,  Avhich 
will  make  it  unfit  for  any  kind  of  work. 

The  usual  method  of  dissolving  the  glue  is,  to  put  it 
in  a  bucket,  or  some  other  convenient  vessel,  and  cover 
it  completely.  The  glue  is  to  be  watched  until  the  water 
has  soaked  half-way  through,  which  can  be  ascertained  by 
breaking  a  piece  and  examining  the  edges.  When  the 
water  has  remained  on  the  glue  a  sufScient  time,  it  is  to 
be  poured  off,  and  the  glue  is  to  be  spread  out  evenly  on 
a  board  which  is  slightly  inclined,  so  as  to  let  any  super¬ 
fluous  water  run  off.  After  being  left  in  this  position 
until  the  water  has  gone  entirely  through,  it  is  in  a  proper 
condition  for  melting. 

If  a  roller  be  made  with  no  more  water  in  it  than 
Avill  remain  in  the  glue  after  being  treated  in  the  above 
manner,  it  may  still  be  found  that,  in  a  short  time,  the 
surface  has  become  hardened.  This  can  be  still  farther 


186 


rillNTER’S  MANUAL  : 


obviated  by  dividing  the  glue  into  four  equal  parts,  and 
soaking  one  of  these  portions  in  common  beer,  in  the 
manner  above  indicated.  This  part  of  the  glue  must  then 
be  put  into  the  melting-kettle,  and  placed  over  the  fire. 
It  is  then  to  be  dissolved  by  a  steady  heat,  stirring  it 
frequently,  at  the  same  time  having  a  care  that  the  water 
in  the  outer  vessel  does  not  become  reduced  by  evapora¬ 
tion;  because,  if  this  should  happen,  the  glue  will  become 
burned  in  parts,  generally  causing  those  lumps  and  hard 
jjortious  often  found  in  rollers,  which  are  always  attributed 
to  the  qualit}'  of  the  glue,  instead  of  carelessness  in  this 
particular.  After  this  portion  is  thoroughly  melted,  the 
other  parts  are  put  in,  one  at  a  time,  until  the  whole 
becomes  of  a  uniform  consistence,  Avhen  it  is  allowed  to 
boil  slowly  for  an  hour,  before  the  molasses  is  added. 
This  must  be  poured  in  gradually^  while  the  mass  should 
be  constantly  stin-ed  until  the  glue  and  molasses  become 
unifomily  mixed.  This  being  done,  the  composition  should 
remain  over  a  moderate  fire  for  an  hour,  stirring  it  every 
ten  minutes.  The  composition  must  now  be  lifted  from 
the  fire  and  the  surface  skimmed,  to  get  rid  of  the  frothy 
j)ortion,  and  after  remaining  in  the  kettle  until  air-bubbles 
cease  to  rise,  it  is  in  a  jiroper  condition  to  be  poured  into 
the  roller-mould. 

The  proportions  of  glue  and  molasses  necessary  to  make 
good  rollers  will  vary  according  to  the  time  of  the  year. 
The  following,  are  the  correct  quantities  of  each  : 

Summer,  2  parts  glue  and  1  part  molasses. 

Winter,,  1  part  “  “  2  parts  “ 

Spring  and  Fall ,  1  “  “  “1  part  “ 

These  proportions  are  intended  for  hand-press  rollers. 
^Tien  it  is  required  to  make  them  for  machine-presses 
the  quantity  of  molasses  should  be  One-third  less. 

Five  pounds  of  glue  and  five  pints  of  molasses  will 
make  a  pair  of  medium  rollers,  the  composition  on  each 
being  twenty-eight  inches  in  length  and  half  an  inch  in 
thickness.  From  this  it  wilt  be  easj'  for  the  pressman  to 
calculate  the  quantity  of  composition  necessary  for  rollers 
of  any  other  length ,  as  it  will  be  seen  that  a  pound  of 
glue  and  a  pint  of  molasses  make  between  ten  and  eleven 
inches  of  a  roller  of  the  ordinary  diameter. 


PRESS-WORK. 


187 


PREPARING  THE  CORE. 

Strip  off  the  composition  with  a  knife,  and  scrape  the 
core.  Keep  water  away  from  it,  and  do  not  touch  it  while 
the  hands  are  covered  with  grease  or  sweat.  As  the  com¬ 
position  often  becomes  loose  from  the  core  at  the  ends,  it 
Avould  he  of  advantage  to  sponge  a  couple  of  inches  at 
both  ends,  with  lime-water  or  spirits  of  wine,  which  will 
effectually  prevent  this. 

THE  MOULD  AND  CASTING. 

The  mould  should  be  of  cast-iron,  ground  perfectly 
smooth  on  the  inside,  and  of  such  thickness  that  the 
heat  of  the  composition  would  not  be  liable  to  make  it 
expand.  When  thin  copper  moulds  are  used,  the  heat 
becomes  transferred  from  the  composition  to  the  mould,  on 
account  of  its  high  conducting  power,  and,  as  the  cooling 
takes  place,  the  mould  contracts  and  holds  the  roller  so 
tightly  that  it  requires  a  great  amount  of  force  to  get  it 
out,  and  sometimes  causes  the  core  to  start  before  the 
composition,  which  leaves  the  roller  worthless. 

The  mould  must  be  carefully  cleaned  and  oiled,  after 
which  the  core  is  to  be  inserted,  taking  care  that  it  is  not 
allowed  to  touch  the  sides,  as  it  would  be  likely  to  get 
some  of  the  oil  upon  it.  The  mould  being  placed  upright, 
and  the  centre-pieces  in  their  proper  places,  the  core  must 
be  fastened,  to  keep  it  from  floating.  This  is  done  by 
placing  the  end  of  a  piece  of  furniture  on  the  upper 
centre-piece,  the  other  end,  which  reaches  above  the  top 
of  the  mould,  being  tied  down  with  a  piece  of  twine. 

When  the  composition  has  been  from  the  fire  long 
enough  for  the  air-bubbles  to  cease  rising,  which  may  be 
known  by  its  surface  assuming  a  smooth,  dark  appearance, 
it  is  in  the  proper  condition  to  be  poured  into  the  mould. 
In  doing  this,  the  composition  must  be  poured  in  slowly 
and  steadily,  taking  care  that  none  of  it  is  allowed  to  run 
down  the  side  of  the  mould,  as  it  will  make  that  side  of 
the  roller  rough,  on  account  of  the  oil  on  that  part  being 
removed  by  the  heat.  It  should  be  poured  on  the  centre 
of  the  core  and  allowed  to  run  down  so  gradually  that 
it  would  fill  the  mould  without  confining  any  air  in  it. 

16 


188 


PRINTER’S  MANUAL  : 


DRAWING  AND  FINISHING  THE  ROLLER. 

When  the  composition  and  mould  become  cold,  the 
roller  can  be  pushed  out  by  pressing  steadily  against  the 
piece  of  furniture  which  was  put  in  to  keep  the  core  from 
floating  while  the  compositioti  was  warm. 

Trim  the  ends  with  a  sharp  knife,  beveled  toward  the 
core,  so  that  the  composition  will  not  be  likely  to  start 
at  that  place.  Dip  the  ends  in  warm  w'ater  long  enough 
to  obliterate  the  marks  of  the  knife.  This  will  prevent 
water,  ley,  or  oil  getting  in  between  the  composition  and 
the  core,  and  making  it  peel  at  the  ends. 

RECASTING  ROLLERS. 

Before  recasting  old  rollers,  take  great  care  to  wash 
them  well  with  lej’,  in  order  to  remove  the  ink  with 
which  they  are  coated.  If  the  rollers  be  dry,  they  must 
be  scraped  with  a  knife,  to  get  rid  of  the  grease,  which 
would  injure  the  composition.  Afterward  cut  the  roller  all 
over  with  a  knife,  and  it  can  be  easily  taken  from  the 
wood.  If  it  be  new’,  it  will  not  need  cutting  so  as  to 
make  it  dissolve  readily;  but,  if  it  be  old,  it  should  be 
cut  into  small  pieces,  and,  when  it  is  put  into  the  kettle, 
a  small  quantity  of  spirits  of  wine  may  be  added,  which 
will  give  it  a  tendency  to  dissolve  sooner  and  better  than 
it  would  by  the  application  of  heat  alone. 

If  the  materials  used  in  the  composition  be  of  the  best 
quality,  the  rollers  will  be  better  after  being  recast  than 
when  first  made;  because  they  are  more  elastic  and  less 
liable  to  be  affected  by  slight  changes  of  temperature. 

If  the  composition  be  soft,  or  the  weather  changing 
from  cold  to  waiTn,  there  will  be  no  necessity  of  adding 
molasses,  when  recasting  a  roller;  but,  if  the  composition 
be  hard,  or  the  weather  getting  cold,  a  pint  of  molasses 
should  lie  added  to  each  four  pounds. 

There  should  always  be  two  full  sets  of  rollers  cast  for 
each  press,  so  that  while  one  pair  is  being  used  the  other 
can  be  washed  and  laid  in  the  roller-box,  where  they  will 
be  kept  in  good  condition  for  working  until  it  is  found 
necessary  to  put  them  in  the  press,  on  account  of  the 
first  pair  not  working  well,  or  of  a  change  of  form. 


PKESS-WOKK. 


189 


PEESERVING  ROLLERS. 

The  washing  of  the  rollers  is  an  operation  very  litlle 
attended  to,  hy  pressmen;  though  their  preservation  and 
good  condition  depend,  almost  entirely,  on  the  care  with 
which  it  is  done.  This,  like  the  washing  of  forms,  is 
usually  entrusted  to  boys,  who,  if  there  be  a  number  of 
rollers  to  he  cleaned,  frequently  wash  the  whole  with  ley 
before  any  of  them  are  rinsed  with  water  and  dried.  This 
should  never  be  done;  because,  if  a  roller  he  kept  for  a 
short  time  with  either  water  or  ley  on  its  surface,  the 
molasses  will  become  dissolved,  and  the  roller  will  lose  its 
adhesiveness. 

When  it  is  necessary  to  wash  a  roller,  it  should  be 
done  as  quickly  as  possible,  by  first  loosening  the  ink 
with  ley  and  a  sponge,  after  which  clean  water  must  be 
thrown  upon  it  till  all  the  ink  is  remo\  ed.  This  being 
done,  and  the  ley  being  rinsed  out  of  the  sponge,  which 
should  be  squeezed  as  dry  as  possible,  it  should  be  rubbed 
over  the  surface  and  ends  of  the  roller,  so  that  it  will 
absorb  any  water  that  may  have  been  left  on  those  parts. 

When  rollers  are  new,  they  should  not  be  cleaned  with 
ley,  as  it  will  have  an  injurious  effect  on  them,  although 
the  utmost  care  may  be  taken  in  its  application.  The 
best  method  of  proceeding,  in  such  cases,  is,  to  use  either 
spirits  of  turpentine  or  coal  oil  to  remove  the  ink;  but, 
if  neither  of  the  above  articles  be  at  hand,  new  rollers 
may  be  cleaned  by  running  them  back  and  forth,  a  few 
times,  over  a  dusty  part  of  the  floor  which  has  previously 
been  swept  clear  of  all  hard  and  large  particles :  the  ink 
becoming  absorbed  by  the  dust,  both  of  them  can  be 
removed,  by  using  a  sponge  which  has  been  slightly 
dampened. 

The  best  method  of  keeping  rollers  in  good  condition 
is,  to  cover  them  at  night,  and  when  they  are  not  likely 
to  be  wanted  for  some  time,  with  a  thick  coating  of 
common  printing-ink;  this  keeps  the  air  from  coming  in 
contact  with  the  surface.  When  the  roller  is  required 
for  use,  the  superfluous  ink  may  be  taken  off,  by  means 
of  sized  waste-paper,  and  the  remainder  can  be  washed 
off  with  ley  and  water. 


190 


PRINTER’S  MANUAL. 


If  a  roller  become  too  hard,  and  the  surface  is  clean, 
dampening  it  ivith  clean  water  will  restore  it  to  a  proper 
condilion  for  working;  hut,  instead  of  doing  this,  it  is 
preferable  to  put  it  in  a  damp  situation,  where  it  will 
gradually  absorb  moisture.  It  will  often  he  found  that 
sponging  a  roller,  while  it  is  being  used,  will  make  it 
work  as  well  as  it  would  if  it  were  washed.  When  this 
is  done,  the  roller  must  he  kept  in  constant  motion,  on 
the  cylinder  or  stone,  until  all  the  particles  of  water  are 
absorbed . 

When  a  roller  gets  too  soft,  it  should  be  placed  where 
a  current  of  dry  air  would  act  on  its  surface .  This  will 
evaporate  the  superabundant  moisture  which  it  contains, 
and  cool  the  composition,  if  the  room  has  been  too  warm. 
But  a  more  expeditious  and  effective  method  is,  to  sponge 
it  with  spirits  of  turpentine,  which  will  restore  it  to  a 
proper  condition  sooner  than  any  thing  else. 

When  rollers  are  not  in  use,  they  should  he  kept  in  an 
air-tight  box,  so  made  that  water  could  he  put  in  or  taken 
out  of  it,  as  occasion  might  require.  With  a  box  of  this 
description,  the  rollers  can  always  he  kept  in  good  order, 
by  attending  to  the  following  directions  :  If  the  atmosphere 
he  very  damp,  there  should  he  no  water  left  in  the  box, 
and  the  cover  should  he  put  down  closely,  so  as  to  exclude 
the  air;  and,  if  the  atmosphere  he  very  dry,  water  should 
he  put  in  the  bottom  of  the  box,  the  cover  being  as  before; 
in  the  intermediate  states  of  the  atmosphere,  the  cover 
may  be  left  more  or  less  open,  as  circumstances  require. 

Boilers  should  not  be  allowed  to  rest  on  the  cylinder  or 
stone  for  any  length  of  time,  as  they  will  thereby  become 
flattened,  which  will  render  them  unfit  for  the  uniform 
distribution  of  the  ink ;  neither  should  they  be  exposed  to 
the  action  of  the  rays  of  the  sun,  in  summer,  nor  to  the 
direct  heat  of  a  stove,  in  winter,  as  either  will  soften 
the  composition  so  much  as  to  cause  it  to  run,  and  thus 
spoil  the  rollers. 

Although  rollers  can  generally  he  kept  in  good  order, 
by  attending  to  the  foregoing  directions,  j'et  it  will  some¬ 
times  be  found  that,  no  matter  what  care  be  taken,  the 
rollers  will  work  hadlj'.  This  can,  generally,  be  obviated 
by  allowing  them  to  rest  for  an  hour  or  two. 


PRIJSTTING-mKS. 


The  Manufacture  of  Printing-inks  will  be  the  next  subject 
that  will  receive  consideration.  In  doing  this,  the  write; 
will  quote  all  the  recipes  which  are  of  any  importance, 
that  are  given  in  Mr.  Savage’s  work ,  interspersed  with 
whatever  remarks  it  may  be  deemed  necessary  to  make, 
both  in  regard  to  the  manufacture  of  the  inks,  and  the 
making  ready  and  printing  of  the  form. 

The  recipes  for  making  black  inks  are  given,  because 
that  is  the  part  of  his  work  in  which  the  making  of  the 
varnish  is  described ;  and  it  being  necessary  to  go  fully 
into  the  one ,  it  was  thought  that  the  other  might  be 
inserted,  both  on  account  of  the  high  price  and  of  the 
scarcity  of  the  volume  from  which  they  were  extracted. 

It  will  be  found,  by  the  printer  who  has  but  a  small 
amount  of  colored  work  to  do,  that  it  will  be  cheaper  for 
him  to  keep  a  can  or  two  of  varnish  on  hand,  and  make 
whatever  shade  and  quantity  of  ink  he  may  require,  than 
to  buy  them  from  the  manufacturer,  as  is  generally  done; 
because  be  will  mix  no  more,  at  any  particular  time,  than 
is  required  for  the  job  in  haiqd,  instead  of  going  to  the 
expense  of  fifteen  or  twenty  dollars  in  procuring  cans  of 
different  colors,  when  an  ounce  of  each  is  not  required. 


MATEEIAL  AND  IMPLEMENTS. 

“Printing-ink  is  a  composition,  formed  of  two  articles; 
namely,  varnish  and  coloring  matter. 

“The  varnish  may  be  either  in  its  natural  state,,  as 
the  vegetable  balsams;  or  a  compound,  as  generally  used, 
formed  of  oil,  rosin,  and  soap. 

“The  coloring  matter  varies  in  black  ink,  according  to 
the  quality  of  the  ink;  and,  in  colored  inks,  according  to 
the  tint  required.” 


192 


PRINTER’S  MANUAL  : 


LINSEED-OIL. 

“Linseed-oil  is  so  generally  used  as  the  basis  of  the 
varnish,  and  answers  so  well  for  general  purposes,  when 
properly  prepared,  that  it  does  not  appear  necessary  to 
speculate  on  the  properties  of  other  oils  for  this  purpose. 
It  is  generally  allowed  that  the  older  it  is  the  better,  for 
making  varnish.” 

ROSIN. 

“The  rosin  that  is  used  in  making  varnish  for  printing- 
ink  is  either  black  rosin  or  amber  rosin;  hut  amber  rosin 
is  the  most  generally  employed,  as  being  more  common  in 
the  market  than  the  other. 

“It  is  an  important  article  in  the  composition  of  good 
ink,  as  by  melting  it  in  the  oil,  when  that  ingredient  is 
sufficiently  boiled  and  burnt,  the  two  articles  combine  and 
form  a  comjwund  approximating  to  a  natural  balsam, 
which,  perhaps,  is  the  best  varnish  for  printing-ink  that 
can  be  used .  It  prevents  the  oil  separating  from  the 
coloring-matter  and  staining  the  paper,  and  gives  a  bind¬ 
ing  quality  to  the  ink  which  prevents  its  smearing;  and 
this  tenacious  quality  may  be  qualified  to  any  degree,  as 
will  be  observed  under  the  next  article.” 

SOAP. 

“This  is  a  most  important  article  in  the  preparation  of 
printing-ink,  and,  what  is  surprising,  it  is  not  noticed  in 
any  of  the  old  recipes  that  have  been  published. 

“  Its  properties  are ;  to  cause  the  ink  to  adhere  uni¬ 
formly  to  the  face  of  the  type,  and  to  give  it  a  complete 
coating  with  the  smallest  quantity ;  to  cause  the  ink  to 
leave  the  face  of  the  type  clean,  and  attach  itself  to  the 
damp  paper  by  the  action  of  pressure,  and  during  the 
process  of  printing  to  continue  to  do  this  through  any 
number  of  impressions ;  also  to  cause  the  ink  to  wash 
easily  off  the  type ;  and  to  prevent  the  ink  skinning  over , 
however  long  it  may  be  kept. 

“For  black  or  dark-colored  inks,  the  best  yellow  or 
turpentine-soap  may  be  used ;  but  it  should  he  well  dried . 
For  light  and  delicate-colored  inks,  curd-soap  is  preferable, 
which  is  white,  and  does  not  affect  their  tints. 


PRINTING-INKS. 


193 


“If  too  great  a  proportion  be  used,  it  has  a  tendency 
to  render  the  color  unequal  where  a  large  surface  is 
printed;  to  spread  over  the  edges  of  the  types,  so  as  to 
give  them  a  rough  appearance ;  and  to  ])revent  the  ink 
drying  quickly,  and  to  set  off  when  pressed.  The  proper 
proportion  is,  when  the  ink  will  work  clean,  without  any 
accumulation  or  clogging  on  the  surface  of  the  type  or 
engraving,  and  then  the  impression  will  be  clear;  if  the 
proportion  be  greater,  the  effect  just  described  will  be 
produced.  It  thus  corrects,  to  any  extent  required,  the 
binding  quality  of  the  rosin  in  the  varnish.” 

Although  soap  has  the  qualities  above  stated,  it  can 
not  be  used ,  with  advantage ,  when  printing  most  light 
colors,  on  account  of  the  alkali,  which  is  one  of  its  com¬ 
ponents,  having  a  tendency  to  alter  their  shades. 

LAMP-BLACK. 

“This  article  varies  very  much  in  quality,  and  equally 
so  in  the  proportion  that  is  required  for  any  given  quantity 
of  ink;  so  that  any  directions  must  be  fallacious  which  do 
not  specify  the  kind  of  lamp-black  to  be  used. 

“There  are  two  kinds:  mineral  lamp-black  and  vegeta¬ 
ble  lamp-black. 

“Mineral  lamp-black  is  much  the  heavier,  and  it 
requires  a  much  larger  proportion  of  it,  by  weight,  to 
make  an  ink  of  the  same  consistency ,  than  it  does  of 
vegetable  lamp-black,  and  is  not  suited  for  ink  of  a  fine 
quality;  but,  I  have  found,  in  practice,  that  it  answers 
very  well  in  certain  proportions  for  inferior  ink.  It  looks 
blacker  in  the  powder  than  the  vegetable  black,  but  it  is 
not  so  when  mixed  with  the  varnish.  It  is  in  general 
foul,  having  extraneous  matter  in  it,  owing,  I  suppose,  to 
the  material  from  which  it  is  made,  and  to  the  ^Drocess, 
and  also  to  the  lowness  of  the  price  not  allowing  the 
manufacturer  to  be  at  the  trouble  of  cleaning  it. 

“Vegetable  lamp-black  is  much  lighter  than  the  mineral, 
and  that  which  is  the  lightest  is  estimated  as  the  best. 
This  article  varies  much  in  the  proportions  that  are  re¬ 
quisite  to  make  ink  of  the  same  strength ;  I  have  found 
that  that  which  is  sold  in  firkins  takes  far  the  most  var¬ 
nish,  and  it  is  said  to  be  the  best  that  is  made  as  an 


PIUNTEH’S  MANUAL  : 


l!t4 

article  of  commerce.  The  price  of  this  sort  will  allow  it 
to  be  used  only  for  line  inks.  There  are  still  higher- 
priced  lamp-blacks,  which,  of  course,  would  be  restricted 
to  very  select  inks. 

“  If  more  than  a  just  proportion  of  lamp-black  l;e 
used,  it  will  cause  the  ink  to  smear,  however  long  it 
may  have  been  printed,  and  also  set  off  under  the  book¬ 
binder’s  hammer;  and  this  effect  must  of  consequence  take 
place  if  the  quantity  be  more  than  the  varnish  can  bind  : 
this  fact  shows  that  the  thickest  inks  are  not  always  the 
best.” 

IVORY -  BLACK. 

“Ivory-black  is  too  heavy  to  be  used  alone  as  the 
coloring-matter  for  black  printing-ink,  but  it  map"  be  used 
with  great  advantage,  in  a*  certain  proportion,  which  maj^ 
be  ascertained  by  adding  it  after  the  ink  is  made,  and 
grinding  it  on  the  stone,  taking  care  not  to  use  too  much 
at  first,  for  select  purposes;  for  instance,  if  an  engraving 
on  wood  is  required  to  be  printed  in  a  very  superior  man¬ 
ner  with  black  ink,  so  as  to  produce  the  best  effect  that 
is  possible,  then  ivory-black,  with  the  other  ingredients 
necessary  for  the  composition  of  fine  ink,  will  be  found 
valuable.  A  difficulty,  however,  arises,  of  how  it  is  to 
be  procured,  for  the  ivory-black  of  commerce  is  not  of 
sufficient  blackness  to  produce  this  effect;  and  the  printer 
will  not  be  able  to  purchase  an  article  that  will  answer 
the  purpose . 

“The  process  by  which  this  article,  of  the  most  intense 
blackness,  may  be  made,  (and  I  have  made  it  from  this 
recipe,  when  it  was  as  superior  to  the  very  best  that  could 
be  bought  as  that  very  best  was  to  the  common  ivorj’- 
black  of  commerce ) ,  I  shall  now  describe  : 

“Provide  a  crucible,  of  a  size  proportioned  to  the 
quantity  of  black  that  may  be  required,  and  fill  it  with 
small  pieces  of  ivory,  which  may  be  procured  at  a  table- 
knife  cutler’s,  and  are  sold  by  the  pound;  the  finest-grained 
ivory,  I  have  observed,  makes  the  best  black;  close  the 
top  of  the  crucible  with  a  cover  that  fits  closely,  and  that 
will  bear  a  strong  heat;  or,  in  lieu  of  such  a  cover,  close 
it  with  well-tempered  cla}';  then  place  it  in  the  middle 
of  a  hot  fire,  where  every  part  of  the  crucible  may  be 


PKINTING-INKS. 


195 


exposed  to  as  equal  a  heat  as  possible,  and  let  it  remain 
until  it  is  burned  to  a  charcoal  to  the  centre;  it  should 
then  he  taken  out  of  the  fire  and  suffered  to  cool  gradually. 
When  the  ivory  is  taken  out  of  the  crucible,  it  will  he 
found  that  the  outside  of  those  pieces  next  to  the  sides 
will  be  burned  too  much,  and  will  be  white,  but  the 
inside  of  them,  and  that  in  the  middle  of  the  crucible, 
will  be  of  the  most  intense  blackness.  As  the  different 
pieces  may  vary  in  the  intensity  of  the  blackness ,  the 
most  perfect  should  be  picked  out,  any  whiteness  or  dis- 
colorization  on  the  outside  be  scraped  off,  and  the  part 
selected  reduced  to  a  powder,  when  an  article  the  most 
perfectly  black  that  perhaps  it  is  possible  to  make  will  be 
produced . 

“If  it  should  happen  to  be  wanted  in  a  situation  where 
a  crucible  could  not  conveniently  be  procured,  enveloping 
the  pieces,  of  ivory  with  clay,  and  burning  it  as  above 
described,  will  produce,  the,  same  effect.” 

.  PRUSSIAN-BLUE. 

“This  article,  used , sparingly ,  greatly  improves  printing- 
ink,  by  giving  it  a  greater  depth  of  color;  but,  if  the  due 
proportion  be  exceeded,  it  gives  the  ink  a  coldish  appear¬ 
ance..  The  best  will  be  found  to  be  the  cheapest,  as  it 
goes  farther  and  produces  a  better  tone  than  the  common . 
It  does  not  affect  the  working  of  black  ink,  either  in  the 
smoothness  or  clearness  of  the  impression,  but  it  requires 
a  great  deal  of  grinding  to  make  it  fine.” 

INDIGO. 

“This  article  produces  the  same  effect  as  prassian-blue , 
and  may  be  substituted  for  it;  or,  equal  quantities  of  both 
may  be  used,  which  mixture,  I  think,  produces  a  blacker 
ink  than  when  used  separately.  I  am  aware  of  the  evils 
arising  occasionally  from  the  mixture  of  colors;  but  I  have 
not  perceived  any’  bad  effects  from  these  two  colors  being 
used  together  in  printing-ink.  I  have  not  observed  that 
indigo,  any  more  than  prussian-blue ,  affects  the  ink  in  its 
quality  of  working  well.” 

17 


196 


I’EINTER’S  MANUAL; 


INDIAN-RED. 

“To  give  a  rich  tone  to  black  printing-ink,  and  to 
take  away  the  cold  appearance  of  the  black  when  indigo 
and  prussian-bliie  are  used,  some  additional  coloring-matter 
is  necessary ;  and  I  have  found  that  indian-red  has  suited 
the  purpose  remarkably  well :  it  possesses  a  depth  of  color 
of  a  purplish  reddish-brown,  which,  with  prussian-blue  or 
indigo,  adds  considerably  to  the  intensity  and  richness  of 
ajipcarance  of  the  ink.  It  works  free  and  clean,  and  the 
price  of  it  is  moderate. 

“Carmine  or  lake  might,  perhaps,  produce  a  superior 
effect,,  but  their  high  price  precludes  their  use;  and,  be¬ 
side,  the  lake  of  commerce  does  not  possess  sufficient 
depth  of  color  to  give  a  richness  of  appearance  to  an 
intensely  black  ink.  This  I  shall  notice  when  I  come  to 
treat  of  colored  printing-inks,  and  give  a  recipe  for  making 
a  lake  of  greater  intensity  of  color.” 

BALSAM  OF  COPAIVA. 

“This  is  a  most  valuable  article,  without  any  prepara¬ 
tion,  as  a  varnish  for  printing-ink;  but  then  it  must  be 
old  and  pure.  With  this  balsam,  a  due  jiroportion  of 
soap  and  coloring-matter,  and  a  stone  and  muller,  any 
printer  may,  at  the  moment,  make  ink  of  the  most 
superior  quality  without  any  risk ,  and  with  very  little 
trouble;  the  knowledge  of  which  he  may  find  of  great 
service  when  he  has  anything  to  print  in  a  very  sui^erior 
manner.” 

“This  natural  balsam  possessing  such  valuable  properties 
as  a  varnish  in  the  preparation  of  printing-ink,  appears  to 
point  out  to  us,  that  the  next  best  composition  for  a 
varnish  for  this  purpose  is,  that  which  approaches  the 
nearest  to  it  in  quality;  and  our  present  varnish,  when 
properly  prepared,  seems  to  approximate  sufficientiy  near 
to  answer  every  necessary  purpose.” 

It  will  often  avoid  disappointment  if  the  printer  will 
remember  that  the  article  sold  by  the  druggists  as  balsam 
of  copaiva  is  generally  so  much  adulterated  that  it  is  of 
no  value  as  a  varnish  for  making  printing-ink  —  being  thin 
and  weak,  when  it  should  be  strong  and  viscid. 


PEINTIKG-I3SKS. 


197 


CANADA-BALSAM. 

“This  is  also  a  natural  balsam,  and  may  be  useful,  to 
a  certain  extent,  in  the  preparation  of  printing-inks,  but 
not  so  generally  as  balsam  of  copaiva,  as  its  properties 
are  a  little  varied.  It  is  much  thicker,  and  dsies  sooner, 
than  that  balsam,  which  properties  would  prevent  it  being 
adopted  alone  as  a  varnish;  but,  for  a  strong  ink,  a  small 
portion  may,  perhaps,  be  mixed  with  balsam  of  copaiva 
to  advantage,  and  also  with  the  regular  varnish.” 

“These  natural  balsams  have  so  little  color  that  they 
do  not  affect  the  inks  whose  tints  are  light  and  delicate; 
and  they  also  dry  slowly,  on  which  account  there  is  no 
danger  of  the  ink  made  with  them  skimming  over.  This 
property,  whatever  opinions  may  be  held  to  the  contrary, 
is  an  advantage;  for,  smearing  is  not  attributable  to  this 
cause,  but  to  too  great  a  quantity  of  ink  being  used,  and 
that  ink  containing  too  great  a  portion  of  coloring-matter, 
and  also  not  being  impressed  on  the  paper  with  a  pow’er 
sufficient  to  fix  it  firmly  on  the  surface,  and  this  want  of 
power  obliging  the  workman  to  use  a  greater  quantity  to 
produce  the  desired  color :  but,  when  the  materials  are 
duly  proportioned,  it  requires  only  a  small  portion  of  ink 
to  coat  the  surface  of  the  type,  and  when  that  ink  is 
firmly  impressed,  on  the  paper  by  means  of  sufficient  power 
exerted,  by  the  press  or  machine,  the  impression  will  not 
smear  wh»n  it  is  just  printed,  in  the  ordinary  method  of 
handling  it.  Master- printers  are  anxious,  at  the  present 
day,  to  procure  an  ink  that  will  dry  immediately;  but,  if 
this  property  were  given  to  it,  they  would  be  disappointed 
again ,  for  the  ink  would  work  foul ,  and  the  workmen 
would  neither  be  able  to  produce  good  work,  nor  to  pro¬ 
ceed  with  dispatch,  as  the  form  would  require  to  be 
washed  often,  as  was  the  case  before  soap  was  used— -in 
short,  I  hold  that  it  is  impossible  to  prodtrce  an  ink  tjiat 
will  dry  very  quickly  and  also  w’ork  clean  to  enable  the 
pressman  to  proceed  with  his  usual  quickness. 

“I  use  the  word  machine,  as  implying  cylindrical 
printing,  with  steam  as  the  moving-power  generally,  in 
contradistinction  to  a  press  whicn  is  worked  altogether  by 
manual  labor 


198 


1>  U  I  N  T  E  U  ’  S  MANUAL: 


IMPLEMENTS. 

■“It  is  necessary  to  have  an  iron  boiler,  of  a  capacity 
to  hold  at  least  double  the  quantity  of  oil  that  is  intended 
to  be  boiled;  as  I  would  never  venture  to  make  varnish 
with  the  boiler  more  than  half  full  of  oil,  on  account  of 
the  risk  incurred,  of  its  rising  and  boiling  over  the  top; 
in  fact,  one-third  full  would  be  safer,  and  cause  the  oil  to 
be  more  manageable  in  case  of  an  accident. 

“The  iron  boiler  must  have  three  feet,  and  may  be 
set  on  three  bricks,  to  raise  the  boiler  from  the  ground, 
so  as  to  enable  the  fire  to  burn,  and  surrounded  by  a 
circle  of  bricks,  to  keep  the  fuel  from  spreading  about, 
and  to  confine  the  fire  under  the  boiler;  it  should  also 
have  two  lugs,  either  to  suspend  it  over  the  fire  by  means 
of  a  bow,  or  to  lift  it  off  the  fire  by  means  of  iron  hooks, 
when  set  on  bricks,  when  it  is  necessary.  It  may  be 
suspended  over  the  fire  by  a  bow  with  a  hook  at  the  end 
of  a  chain  fixed  to  a  triangle. 

“The  boiler  should  have  a  cover  made  to  fit  closely, 
but  not  tightly,  so  that  it  may  be  put  on  and  taken  off 
'with  facility.  It  should  have  a  handle  at  the  top,  by 
which  it  may  be  taken  off  with  a  stick;  for,  after  remain¬ 
ing  on  the  boiler  some  time,  for  the  purpose  of  putting 
out  the  flame,  it  will  be  found  too  hot  for  the  hand. 

“An  iron  spatula  should  be  provided,  to  stir  up  the 
oil  during  the  process,  as  well  as  to  take  out  a  few  drops, 
from  time  to  time,  when  it  is  necessary  to  try  its  con¬ 
sistence,  and  to  stir  it  up  when  the  rosin  and  soap  are 
added ;  as  well  as  to  mix  the  coloring-matter  with  the 
varnish . 

“  It  will  also  be  necessary-  to  have  an  iron  ladle ,  large 
in  proportion  to  the  quantity  of  oil  boiled  at  one  time, 
with  a  long  handle,  to  take  out  a  portion  of  the  oil,  should 
it  rise  and  be  in  danger  of  running  over,  from  having  too 
brisk  a  fire,  as  I  shall  describe  in  treating  of  boiling  the 
oil ;  .and  it  will  also  be  requisite  to  lade  the  varnish  out 
of  the  boiler,  when  it  is  complete. 

“A  stick,  about  a  yard  long,  with  a  cleft  in  one  end, 
will  be  found  useful,  when  the  oil  is  in  a  state  to  burn, 
as  by  putting  a  piece  of  paper  in  the  cleft  the  oil  may  be 
set  on  fire  without  any  risk  of  burning  the  hands  or  face.” 


PRINTING-INKS. 


199 


BLACK  IKK  FOB  GENEEAL  PURPOSES. 

“Having  previously  described  tbe  materials,  and  the 
apparatus  necessary  for  boiling  the  oil,  I  shall  now  pro¬ 
ceed  to  the  process  of  making  the  varnish,  and  afterward 
to  prepai'ing  the  ink ;  taking  the  proportions  for  a  small 
quantity ,  that  would  be  easily  managed ,  and  would  be 
convenient  to  printers  in  general. 

“A  boiler  having  been  placed  on  three  bricks,  and  sur¬ 
rounded  by  a  circle  of  bricks,  to  confine  the  fire,  placed  a 
little  apart  from  each  other,  to  admit  a  current  of  air  to 
the  fuel,  put  into  it  six  quarts  of  linseed-oil,  then  light  a 
coal  fire,  using  plenty  of  wood  in  order  to  make  it  burn 
briskly,  and  keeping  it  up  lively  and  steady,  but  not  very 
violent.  After  the  oil  has  been  some  time  on  the  fire, 
it  begins  to  simmer,  and  small  bubbles  arise;  it  soon  after 
has  the  appearance  of  boiling,  and  the  bubbles  increase  in 
number;  but,  as  the  oil  gets  hotter,  this  appearance  ceases, 
the  bubbles  disappear,  and  the  surface  becomes  smooth 
and  unruffled.  After  this,  it  begins  to  emit  smoke,  and 
begins  to  boil  and  smell  very  strong;  and,  if  the  boiling 
be  prolonged,  a  scum  arises.  It  should  now  be  carefully 
attended  to,  and  frequently  tried  with  a  piece  of  lighted 
paper,  to  see  if  it  will  take  fire,  which  it  will  not  do  in 
this  state,  unless  the  flame  of  the  paper  be  carried  down 
to  the  surface  of  the  oil. 

“It  is  a  considerable  time  before  it  will  take  fire;  but, 
after  the  smoke  begins  to  rise,  it  should  be  tried  often,  as 
it  is  more  manageable  when  taken  as  soon  as  it  will  burn. 
When  the  vapor  begins  to  be  inflammable,  it  takes  fire 
with  a  few  flashes,  which  may  be  distinctly  heard,  though 
not  seen,  and  these  flashes  immediately  clear  away  the 
smoke.  In  a  little  time  these  flashes  become  stronger, 
may  be  seen ,  and  continue  flashing  a  short  time :  I  would 
now  advise  that  it  be  taken  off  the  fire  and  placed  on  the 
ground,  set  on  fire  and  kept  stirring  with  a  spatula,  which 
exposes  fresh  surfaces  to  the  atmosphere,  and  keeps  the 
flame  in.  This  burning  increases  the  heat  of  the  oil,  and 
also  increases  the  flame,  so  that  it  will  be  necessary  to 
cover  it  occasionally,  fof  the  purpose  of  extinguishing  the 
flame,  and  trying  its  consistence.  The  latter  may  be  done 


200 


PRINTER’S  MANUAL  : 


by  dipping  the  spatula  into  the  oil,  and  dropping  a  little 
on  an  earthen  plate,  which  will  soon  cool.  If  it  do  not, 
draw  out  in  strings,  on  touching  it  with  the  finger,  set  fire 
to  it  again,  and  keep  repeatedly  trying  it,  and  continually 
stirring  it  with  the  spatula.  When  it  will  draw  into  strings 
about  half  an  inch  long,  on  touching  it  with  the  finger 
and  withdrawing  it  from  the  plate,  it  is  burned  enough 
for  an  ink  sufficiently  good  for  book-i\ork  generally ;  the 
cover  should  then  be  placed  on  the  boiler,  and  the  flame 
extinguished. 

“If  the  oil  be  pushed  to  a  violent  boiling-heat,  in  the 
first  instance,  without  trying  if  it  will  take  fire,  the  pro¬ 
bability  is  that  it  will  froth  so  much  and  rise  up  in  the 
pot.,  as  to  take  fire  spontaneously  by  contact  with  the 
atmosphere,  and  become  unmanageable,  and  baffle  all 
attempts  to  extinguish  it,  endangering  the  safety  of  the 
building,  if  within  one,  and  the  adjacent  ones,  and  the 
wasting  of  the  oil.  Under  these  circumstances,  when  they 
occur,  a  large  sized  ladle  will  be  found  particularly  ser¬ 
viceable,  as  a  large  portion  of  the  oil  may  be  taken  out 
into  the  cool  ladle,  and  by  taking  some  out  and  pouring 
it  into  the  pot  again  reireatedly  it  will  rapidly  cool,  and 
the  oil  may  thus  be  saved ;  and  if  a  few  jueces  of  soap 
can  safely  bo  introduced  without  making  the  oil  run  over 
the  top  of  the  boiler,  it  will  cause  the  rising  to  subside, 
and  thus  prevent  loss  and  danger. 

‘•When  the  cover  is  taken  off  again,  there  is  a  great 
quantity  of  smoke,  that  has  a  jwwerfully  disagreeable 
smell,  and  a  deal  of  froth.  When  this  froth  has  sub¬ 
sided  by  stirring  it  well  together,  six  pounds  weight  of 
amber-rosin,  or  black-rosin,  should  be  gradually  put  into 
the  oil  and  stirred  up.  If  it  were  put  in  at  once,  the 
effervescence  would  be  so  great  that  the  oil  would  run 
over  the  top  of  the  boiler. 

“When  this  is  done,  and  the  rosin  dissolved,  which 
the  heat  of  the  oil  will  do,  there  should  be  added  one 
pound  and  three-quarters  of  dry  brown  or  turpentine-soap, 
of  the  best  quality,  cut  into  slices.  This  also  should  be 
])ut  in  gradually  and  with  caution,  for  it  causes  a  violent 
ebullition,  and  as  the  soap  dissolves  it  is  thrown  up  to  the 
top,  and  forms  a  kind  of  froth  to  a  great  extent.  When 
all  the  soap  is  put  in,  and  the  ebullition  has  ceased,  it 


PRINTING-INKS.  201 

may  be  replaced  over  the  fire  until  it  boils,  which  it  will 
soon  do,  and  the  varnish  will  be  completed. 

“While  the  rosin  is  being  put  in,  it  is  advisable  to 
keep  stirring  the  oil  with  the  spatula;  the  same  when  the 
soap  is  put  in,  and  also  when  over  the  fire  for  the  last 
time,  that  the  whole  may  be  intimately  and  uniformly 
incorporated . 

“Then  take  five  ounces  of  the  best  prussian-blue  or 
indigo,  or  equal  parts  of  each  to  the  same  amount,  ground 
to  a  powder,  and  put  it  into  an  earthen  pot  or  tub,  large 
enough  to  contain  the  whole  quantity  of  ink  when  all  the 
ingredients  are  mixed  together. 

“Into  this  vessel  also  put  four  pounds  of  the  best 
mineral  lamp-black  and  three  and  a  half  pounds  of  good 
vegetable  lamp-black,  then  add  the  varnish,  little  by  little, 
while  warm,  and  keep  stirring  it  well  together,  until  the 
whole  of  the  varnish  is  put  in.  The  stirring  of  the 
ingredients  together  should  be  continued  until  they  are 
well  mixed  and  no  lumps  remain.  It  should  then  be  sub¬ 
mitted  to  the  levigating-mill ,  or  to  the  stone  and  muller, 
and  ground  to  an  impalpable  fineness,  and  the  printing-ink 
will  be  fit  for  use. 

“It  will  be  found  that,  if  the  varnish  be  cold  when  the 
lamp-black  is  added,  a  great  deal  of  trouble  and  loss  of 
time  will  be  occasioned  by  the  difficulty  of  mixing  them ; 
but,  if  the  varnish  be  warm,  or  tolerably  hot,  they  may  be 
mixed  mueh  more  readily  and  with  very  little  trouble.” 


A  FINE  INK,  WITHOUT  OIL  OE  EOSIN. 

“After  persevering  in  making  experiments  for  a  series 
of  years,  I  at  last  aecomplished  the  object  which  I  long 
had  in  view,  of  making  printing-ink  of  the  most  superior 
character,  without  any  oil  in  its  composition;  thus  getting 
clear  of  the  imperfections  of  inferior  or  adulterated  oil;  of 
over-boiling  or  under-boiling;  of  inaccurate  proportions  of 
rosin ;  and  of  the  trouble  and  danger  of  boiling  the  oil . 

“The  ink,  which  the  following  recipe  is  for  producing, 
is  a  fine  and  intense  black,  and  works  as  freely  and  clean, 
looking  at  it  as  a  strong  ink,  as  can  well  be  wished  for. 
It  surpasses  any  ink  that  I  have  ever  seen  manufactured 


202 


PRINTER’S  MANUAL  : 


for  sale,  lying  smoothly  on  the  surface  of  the  paper not 
sinking  through  the  paper,  nor  tinging  it  in  anj’  way — ^ 
not  spreading  at  the  edges  —  and  retaining  its  intense  color; 
for  1  have  some  before  me  that  has  been  printed  fifteen 
years  which  is  unchanged,  and  has  the  same  appearance 
precisely  as  when  firet  issued  from  the  press. 

PROPORTIONS  FOR  ONE  POUND. 


“Balsam  of  copaiva,  9  oz. 

Liiinp-black  3  oz. 

Ixuligo,  or  prussian-blue ,  or  equal  quantities  of  both  oz. 
Intliuii-red  oz. 

Turpentine-soap ,  dry  3  oz. 


“To  he  ground  upon  a  stone  with  a  muller,  to  an 
impalpable  fineness,  when  it  will  be  fit  for  use. 

“This  recipe  for  making  a  printing-ink  of  a  very 
superior  quality,  without  either  oil  or  rosin  in  its  composi¬ 
tion,  will,  I  believe,  be  found  important  to  every  printer 
who  executes  fine  work,  or  highly-finished  engravings  on 
wood,  as  he  may  prepare  it  himself  without  the  least 
risk,  and  with  no  more  trouble  than  would  be  equal  to 
grinding  a  little  oil-paint,  and  thus  keep  a  small  quantity 
in  a  tin  can,  ready  for  use  at  any  time;  or,  in  case  of 
emergency,  it  can  he  prepared  in  half  an  hour.” 

Tlie  objectionable  smell  which  balsam  of  copaiva  has 
may  be  entirelj-  removed  by  putting  three  or  four  drops  of 
kreosote  in  the  above  quantity  of  ink. 

The  writer  of  this  w'ork  has  been  informed  by  a  person 
who  did  most  of  the  press- work  on  Safe’s  “  Decorative 
Printing,”  that  the  black  ink  used  in  ~printing  the  part 
before  page  53  was  made  according  to  the  a1x)ve  recipe ; 
and,  upon  examination,  he  finds  that  the  outlines  of  the 
types  are  more  definite  and  the  surface  blacker,  in  that 
portion,  than  in  the  remainder  of  the  volume. 


A  SUPERIOR  INK,  MADE  WITH  OIL. 

“  Balsam  of  copaiva  having  a  peculiar  smell,  w'hich  the 
ink  made  with  it  will  retain  for  years,  and  becoming  more 
bowerful  when  held  near  the  fire,  some  persons  may  pre¬ 
fer  a  fine  strong  ink  without  any  peculiar  scent ;  in  which 


PEINTING-INKS. 


203 


case  it  will  be  necessary  to  boil  and  fire  the  oil  to  a  higher 
degree  than  I  have  described  for  an  ink  intended  for  general 
book-work,  so  as  to  make  a  stronger  varnish,  to  prevent 
any  fear  whatever  of  the  oil  separating  from  the  coloring- 
matter  and  staining  the  paper.  This  varnish  will,  of  course, 
require  a  small  proportion  more  of  soap  to  make  it  work 
well  and  clean.  Substituting  this  varnish  for  the  balsam 
of  copaiva,  the  recipe  will  stand,  with  regard  to  the  articles 
and  their  quantities,  precisely  the  same  as  the  last. 

“There  are  various  reasons  why  strong  varnish  is  used 
in  fine  ink  for  superior  work :  the  oil  being  well  boiled 
acquires  a  tenacity  that,  when  combined  with  rosin,  pre¬ 
vents  its  spreading .  and  staining  -  the  paper ; .  the  form  must 
be  well  rolled,  that  the  face  of  the  type  or  engraving 
may  be  completely  coated,  which  it  will  thus  be  with  the 
least  possible  quantity  of  ink ;  the  surface  only  is  thus 
coated,  and  no  superfluous  quantity  is  present  to  squeeze 
or  run  over  the  edges  and  disfigure  the  work ;  and  an 
impression  is  obtained  of  the  surface  only  of  a  full,  rich 
color,  which  should  always  be  the  object  in  fine  work. 
It  acts  also  as  a  preservative  of  the  color  of  the  ink,  and 
thus  continues  unimpaired  the  beauty  of  the  press-work,” 

COLOEED  PEINTING-INKS. 

“I  would  advise  printers  to  have  in  readiness  a  small 
marble  slab  and  a  small  muller,  with  some  good  printing- 
ink  varnish;  they  may  thus  immediately  prepare  a  colored 
printing-ink,  when  wanted,  with  but  little  inconvenience 
or  trouble,  and  of  any  color  or  tint  that  is  required,  by 
reference  to  the  following  list;  and  if  they  find  any  ink 
accumulating  on  the  face  of  the  type  so  as  to  clog  it  up 
and  prevent  it  working  clean,  a  little  soap  rubbed  into  the 
ink  with  the  muller,  on  the  stone,  will  remedy  the  defect 
immediately . 

“When  a  light  washy  tint  is  required,  I  would  strongly 
impress  on  the  printer  not  to  reduce  the  color  by  the 
admixture  of  any  white  with  it,  which  will  take  away  all 
its  liveliness,  and  produce  dulness,  but  to  thin  it  with 
varnish  to  the  point  required;  to  roll  the  subject  with 
very  little  ink ;  -  and  to  apply  a  very  strong  pressure ,  by 


PRINTER’S  MANUAL  : 


2('>4 

which  means  any  tint  may  he  produced  that  the  color  is 
capable  of,  still  retaining  all  its  spirit. 

“I  have  found  in  practice,  that,  wdiatever  varnish  may 
be  used,  some  colors  sink  through  the  paper  and  stain  the 
back  of  it  more  than  others;  this  is  owing  to  the  solubility 
of  the  coloring-matter  in  the  varnish,  W'hich  thus  pene¬ 
trates  through  the  paper.  It  is  therefore  advisable,  in 
imitating  drawings,  to  avoid  such  colors  as  much  as  possi¬ 
ble,  and  where  it  is  not  possible,  to  print  on  india-paper, 
and  mount  them ;  for  wdiere  it  happens  it  disfigures  them 
greatly,  w'hether  they  are  bound  in  a  book  or  preserved  in 
a  portfolio.  It  is  a  curious  fact,  that  tliis  action  does  not 
take  place  in  thin  white  india-paper,  the  back  remaining 
unaffected . 

“It  will  be  found  that  different  colors  will  require 
different  proportions  of  soap  ground  up  with  them,  to 
cause  them  to  work  free  and  clean ;  and  the  utility  and 
absolute  necessity  of  this  article  in  printing-ink  having  been 
kept  a  profound  secret  by  the  few  persons  who  manu¬ 
factured  tlie  ink  for  sale,  and  were  interested  in  keeping 
the  secret,  jirevented  any  great  competition;  and  also  pre¬ 
vented  many  ingenious  printers  from  ornamenting  their 
])roductions  with  colors,  as  the  varnish  which  is  sold  was 
found  not  to  be  sufficient  of  itself  to  make  even  vermilion, 
the  color  most  commonly  used,  to  work  clean,  and  beyond 
this  there  was  no  resource ;  for  self-interest  locked  up 
closely  the  only  known  remedy.” 

Although  Mr.  Savage  recommends  the  use  of  soap  in 
the  preparation  of  printing-inks,  still  it  must  be  evident  to 
any  person  who  gives  the  subject  a  moment’s  considera¬ 
tion,  that  its  application  to  this  purpose  will  have  a  bad 
effect,  on  account  of  the  non-drying  oil  which  it  always 
contains,  it  being  absurd  to  burn  the  oil  to  get  rid  of  its 
greasy  principle,  and  afterward  to  add  the  same  thing  in 
a  far  worse  form .  The  way  to  obviate  this  is  simple :  to 
add  the  alkali,  in  its  pure  state,  to  the  varnish,  using 
bicarbonate  of  ammonia  for  the  light  and  bicarbonate  of 
soda  for  the  deeper  colors.  The  quantity  of  either  article 
used,  should  be  about  one-tenth  of  the  amount  of  soap 
recommended  for  a  given  amount  of  ink. 

During  the  manufacture  and  printing  of  light-colored 
inks,  care  should  be  taken  that  no  metal,  which  is  easily 


PEINTING-INKS. 


205 


oxidized,  such  as  iron  or  copper,  comes  in  contact  with 
them,  because  it  will  deaden  the  appearance  of  the  color. 
For  this  reason  a  metal  spatula  should  not  be  used  while 
the  ink  is  on  the  stone;  neither  should  type-metal  nor 
copper  be  employed  to  make  an  imp)ression  from.  As  an 
illustration  of  this,  let  the  pressman  take  an  electrotype- 
plate  and  pull  an  impression  of  it  with  the  finest  red  ink 
he  can  make  or  procure,  and  he  will  find  that  the  color 
will  be  nearer  to  a  brown  than  to  a  red.  The  best  thing 
to  do  in  such  a  case  is,  to  use  a  wooden  block  on  which 
the  design  has  been  engraved.  Type-metal  may  be  used 
for  the  ordinary  kinds  of  work,  as  it  is  less  liable  than 
copper  to  affect  the  color;  but,  if  it  should  be  necessary, 
at  any  time,  to  use  the  latter  metal,  a  thin  coating  of 
silver  should  be  deposited  on  it  by  the  galvanic  process, 
as  the  red  or  any  other  light  color  is  less  affected  by  this 
than  by  the  inferior  metals. 

The  following  is  a  list  of  the  pigments  best  adapted  for 
the  manufacture  of  colored  printing-inks  : 

EED. 

“Carmine. —  This  is  a  more  brilliant  color  than  lake, 
and  possesses  more  depth;  it  is  readily  ground  into  a  fine 
ink.  I  should  strongly  recommend  balsam  of  copaiva  to 
be  used  as  a  varnish,  when  carmine  is  employed  as  a 
printing-ink,  on  account  of  its  paleness,  as  I  should  be 
afraid  of  the  deeper  shade  of  printing-ink  varnish  injuring 
its  brightness.  Carmine  is  too  expensive  to  be  used  as  a 
printing-ink,  except  for  very  particular  purposes.” 

The  carmine  which  is  sold  by  the  druggists  is  generally 
adulterated,  so  as  to  realize  a  greater  profit  than  could  be 
made  by  vending  the  pure  article,  as  well  as  to  have  an 
article  which  could  be  sold  at  various  prices.  If  a  printer 
should,  at  any  time,  desire  to  obtain  the  pure  coloring- 
matter  of  carmine,  let  him  take  any  amount  of  the  color 
and  digest  it  in  liquid  ammonia,  at  a  temjjerature  of  60°. 
The  ammonia  seizes  the  coloring-matter  and  dissolves  it, 
leaving  only  a  residuum  of  a  pale  red  earthy  appearance. 
The  color  can  now  be  deposited  from  the  alkaline  tincture, 
by  adding  concentrated  acetic  acid,  by  degrees,  until  the 


206 


PRINTER’S  MANUAL  : 


ammonia  is  completely  saturated,  when  a  precipitate  will 
be  formed.  The  extreme  fineness  of  this  color  requires 
the  addition  of  a  little  alcohol  to  the  liquid,  in  order  to 
diminish  its  density.  This  addition  causes  the  color  to 
deposit,  which  then  shows  itself  in  all  its  brilliancy. 
Decant  the  colorless  liquid;  after  which  the  deposit  must 
he  washed  with  alcohol  and  dried  in  a  saucer  or  some 
other  shallow  non-metalic  vessel. 

“Lake. —  There  are  two  sorts  of  lake  in  commerce  — 
crimson  lake  and  purple  lake :  the  crimson  lake  is  the 
richer  color,  and  is  to  be  preferred,  for  a  purplish  tinge 
may  easily  be  given  to  it  when  required,  but  the  crimson 
tone  could  not  be  given  to  the  purple  lake.  It  is  easily 
reduced  to  a  fine  ink  with  the  muller;  it  works  clean, 
and  does  not  require  more  soap  than  vaniish  contains.  It 
is  a  color  that  does  not  possess  much  depth. 

“As  it  may  be  necessary  sometime  to  use  this  color  of 
deeper  tone  than  that  possessed  by  the  lake  of  commerce, 
I  think  I  shall  be  doing  a  ser\’ice  by  giving  a  recipe, 
which  has  not,  to  my  knowledge,  been  published  before, 
for  making  a  very  suj)erior  lake,  of  a  much  more  brilliant 
color  than  can  be  purchased. 

“Take  one  ounce  of  the  best  cochineal,  powder  it, 
and  boil  it  in  one  quart  of  water,  until  the  coloring-matter 
is  extracted;  then  let  the  cochineal  subside,  and  pour  the 
liquid  into  another  vessel;  when  cold,  pour  gradually  into 
this  decoction  some  muriate  of  tin,  and  keep  stirring  it; 
the  muriate  of  tin  immediately  changes  the  decoction  into 
a  most  beautiful  color.  Be  cautious,  in  the  first  instance, 
of  not  putting  in  too  much  of  the  muriate  of  tin.  Let  it 
subside,  and  if  the  supernatant  liquor  be  nearly  colorless, 
there  is  a  sufficient  quantity  of  muriate  of  tin ;  if  it  still 
retain  any  considerable  portion  of  coloring-matter,  a  small 
quantity  more  must  be  added ;  but  I  would  not  advise  so 
much  as  to  precipitate  every  portion  of  the  color  in  the 
supernatant  liquor.  When  this  is  done,  add  a  little  pow¬ 
dered  alum,  and  assist  its  dissolution  by  occasional  stirring. 
Let  it  subside;  then  pour  off  the  greater  portion  of  the 
liquor,  and  wash  the  color  well  in  three  or  four  waters; 
this  is  done  by  adding  a  considerable  portion  of  the  purest 
water  you  can  obtain,  stirring  it  up  well  each  time,  and, 
when  the  color  has  subsided,  pouring  as  much  water  off 


PRINTING-INKS. 


207 


as  you  can  without  disturbing  the  color.  As  the  color  sub¬ 
sides,  keep  pouring  off  the  water;  by  this  process  the 
color  is  divested  of  the  acid  in  the  muriate  of  tin ;  then 
dry  the  precipitate  gradually,  with  as  little  heat  and  dust 
as  possible,  and  a  lake  will  be  '{)roduced  far  deeper  in 
color  and  superior  to  any  that  cap  be  purchased  in  the 
market-— in  fact  it  may  be  termed  a  fine  carmine. 

“During  the  process  of  making  it  the  addition  of  salt 
of  tartar  will  give  it  a  purple  tinge. 

“Vermilion. —  This  color  is  generally  employed  as 
the  coloring-matter  for  red  ink  that  is  used  for  jobs  of  a 
neater  appearance  than  common ,  and  for  title-lines  in 
books.  Its  properties  and  appearance  vary  in  different 
specimens.  Chinese  vermilion  is  estimated  to  be  the  best; 
and  it  is  the  brightest.  It  requires  a  large  proportion  of 
soap  ground  up  with  it  to  make  it  work  clean,  and  this 
kind  requires  more  than  the  vermilion  of  commerce ;  but 
the  exact  proportion  can  only  be  ascertained  at  the  press- 
side  when  using  it,  as  different  specimens  require  different 
proportions :  if  it  do  not  leave  the  type  clean  after  a  few 
impressions,  but  begins  to  accumulate  and  clog  the  face,  a 
little  more  soap  should  be  rubbed  in;  if  the  surface  of 
the  type  be  left  clean,  but  the  ink  spreads  over  the  edges, 
there  is  too  much  soap  in  it,  and  a  little  more  color  and 
varnish  should  be  added.  By  paying  attention  to  these 
suggestions,  red  ink,  manufactured  from  vermilion,  may  be 
made  to  work  as  clean  and  well  as  black  ink,  as  I  have 
often  experienced  in  my  own  practice. 

“Preceding  writers  on  this  subject  have  recommended 
the  addition  of  lake  to  vermilion,  for  the  purpose  of  pro¬ 
ducing  a  brighter  color  than  vermilion  alone  would  produce; 
but,  I  have  invariably  found  that,  instead  of  brightening, 
it  injured  both  the  colors,  and  produced  a  brick-dust  dull 
effect.  A  much  brighter  red  will  be  produced,  by  taking 
Chinese  vermilion  and  adding  a  small  portion  of  chromate 
of  lead.  But  the  greatest  improver  of  color  is  a  good 
contrast.  This  color  is  apt  to  turn  black  by  exposure  to 
the  atmosphere. 

“Ked-Lead.  —  This  article  is  inferior  to  vermilion,  but 
is  much  used  in  posting-bills,  where  cheapness  is  required. 
It  may,  also,  be  found  useful  where  a  variety  is  wanted 
of  a  paler  color.  It  requires  a  greater  proportion  of  soap 


208 


I'KINTEll’S  MANUAL  : 


than  is  in  the  varnish,  to  cause  it  to  work  clean.  It  soon 
changes  color,  and  turns  black. 

“  1  n  d  i  an  -  II e  d .  —  This  color  is  of  a  deep  reddish  brown 
with  a  purplish  cast;  it  is  tedious  to  grind  it  smooth, 
being  hard  and  refractory  under  the  muller,  but,  when 
ground  to  the  proper  fineness,  it  makes  a  good  ink  of  a 
rich  tone,  and  works  well.  It  is  valuable  in  its  combina¬ 
tions  with  other  colors,  both  in  mixture  and  contrast,  as 
well  as  in  its  unadulterated  state.  It  is  capable  of  much 
intensity,  and  would,  in  my  opinion,  be  superior  in  many 
instances  to  vermilion  for  eflect,  and  would  2'i'ove  a  good 
variety  for  jobs,  titles,  head-lines,  etc.  The  color  is  ijer- 
maneut . 

“Venetian -Red.  —  This  color  is  easily  ground  into  a 
smooth  ink,  and  does  not  require  much  more  soap  than 
varnish  generally  contains.  It  makes  a  red  ink  not  of 
much  intensity,  but  not  without  its  value,  as  afibrding  a 
variety  of  color  at  but  little  ex2>ense. 

“Rose- Pink. —  This  is  a  very  cheap  color,  and  this 
may  induce  some  jirinters  to  tr}'  it  where  economy  is 
requisite ;  but ,  except  they  succeed  better  than  I  was  ever 
able  to  do,  they  will  lose  the  color,  the  varnish,  and  their 
time :  for  I  have  tried  it  in  every  way  that  I  could  think 
of,  and  I  never  could  make  it  work  clean,  nor  even  make 
decent  work  widi  it.  The  result  is,  that  I  pronounce  it 
to  be  a  worthless  oolor  for  printing-ink.  It  is,  also,  a  very 
fleeting  color.  I  only  mention  this  as  a  caution,  because 
it  will  prevent  disajipointment.” 

ORANGE. 

“Orange  Chromate  of  Lead.  —  This  variety  makes 
decidedly  the  best  orange-colored  ink.  It  can  be  ground 
smooth  with  verj’  little  trouble,  and  forms  a  good  working 
ink  of  a  brilliant  hue,  and  capable  of  jwoducing  a  most 
showy  effect,  judiciously  contrasted  with  other  colors. 

“Orange- Lead. —  This  is  a  paler  but  warmer  color 
than  red-lead,  and  may  be  useful  in  large  bills,  where 
econom}'  in  the  price  of  the  ink  is  necessary.  It  requires 
an  additional  quantity  of  soap  to  what  is  contained  in  the 
varnish.  It  is  not  a  permanent  color.  None  of  the  pre- 
pi  arations  of  lead  are  to  be  relied  on,  as  they  all  change. 


PKINTING-INKS. 


209 


“Burnt  Terra-di- Sienna. —  This  is  a  useful  color 
where  a  warm  yellow  tint  is  required,  or  to  shade  yellows 
with.  It  works  clear  and  clean,  but  requires  an  additional 
portion  of  soap.  It  is  a  permanent  color  and  makes  a 
smooth  ink;  but,  it  must  be  remembered  that,  as  this  is 
a  transparent  color  rather  than  a  body-color,  its  use  is 
more  appropriate  in  imitation  of  drawings  or  ornamental 
productions  than  to  print  lines  of  types.” 

YELLOW. 

“Chromate  of  Lead. —  This  is  the  brightest  yellow 
as  a  body-color  that  is  yet  known.  It  is  easily  ground 
into  a  fine  printing-ink,  and  it  works  freely  and  well,  and 
requires  little  or  no  additional  soap  beyond  what  is  con¬ 
tained  in  the  varnish.  There  are  different  shades  of  this 
article,  from  a  pale  yellow  to  an  orange  color. 

“Indian-Yellow.— -  It  is  a  transparent  color,  and 
will  be  useful  in  glazing,  and  where  a  rich  mellow  tone 
is  required,  in  imitating  a  colored  drawing  of  a  landscape. 

“Gall-Stone.  —  It  is  a  transparent  yellow  of  a  warm 
tint,  and  it  will  be  found  useful  in  glazing  rich  mellow 
tones  in  landscapes .  It  is  a  concretion  taken  from  the 
gall-bladder  of  cattle  that  are  slaughtered.  It  is  apt  to  fly. 

“Gamboge.  —  Although  a  bright  yellow  as  a  water- 
color,  yet  gamboge  used  as  a  printing-ink  possesses  no 
merit,  except  in  imitating  drawings,  when  it  may  be  used 
as  a  light  washy  tint  where  much  effect  is  not  wanted ; 
but  for  a  full  yellow  it  will  not  answer.  The  color  stands 
very  well. 

“King’s-Yellow.— This  is  by  no  means  a  bright 
color,  and  it  has,  beside,  a  disagreeable  smell;  yet  it  was 
the  only  article  used  where  a  yellow  printing-ink  was 
required  until  I  introduced  chromate  of  lead  as  a  coloring- 
matter,  which  is  so  much  superior  that  king’s-yellow  is 
entirely  superseded.  It  does  not  stand. 

“Patent-Yellow. —  This  is  a  color  that  will  not  be 
of  much  use  as  a  printing-ink,  possessing  little  body  and 
that  of  a  dull  hue.  Where  bright  tints  are  required  it  is 
worthless . 

“Roman-Ochre.  —  It  possesses  a  deeper  tone  than 
yellow-ochre,  with  which  it  may  be  used  as  a  shade  in 


210 


I’KINTER’S  MANUAL: 


representing  stone  buildings,  and  in  foregrounds  of  land¬ 
scapes.  It  is  dearer  than  yellow-ochre,  but  the  latter  may 
be  easily  brought  up  to  the  same  shade  by  burning. 

“Yellow -  Ochre.  —  In  rei^resenting  stone  buildings , 
yellow  ochre  will  be  found  a  useful  color.  It  is  easily 
ground  into  a  fine  ink.  It  is  dull,  but  stands  well.” 

GREEN. 

“Verdigris. —  This  article  makes  an  ink  of  a  bright 
green  color  with  a  slight  bluish  tinge,  which  may  be  of 
use  for  large  bills,  where  variety,  show,  and  effect  are 
required  for  temporary  purposes ;  but  care  should  be  taken 
that  the  verdigris  be  of  a  good  quality.  It  does  not  form 
a  good  working  ink;  in  fact  it  would  be  almost  impossible 
to  produce  an  even  surface,  though  when  seen  at  a  distance 
it  produces  a  dashing  effect.  It  is  a  very  fleeting  color; 
and  on  these  accounts  unfit  for  general  purposes. 

“Green.  —  Green  ink  may  be  made  by  an  admixture 
of  blue  and  yellow,  and  the  choice  of  the  materials  must 
depend  on  the  shade  and  tint  of  green  that  is  w'anted; 
and  thus  greens  of  every  hue  may  be  formed  with  differ¬ 
ent  blues  and  different  yellows.  It  is  necessary  to  observe 
that  the  purest  yellow  chromate  of  lead  must  be  selected 
if  a  bright  green  be  required;  for  that  which  is  of  an 
orange  or  reddish  tint  will  invariably  produce  a  dull  green 
color.  The  color  of  any  green  ink  may  be  deadened  by 
the  addition  of  a  little  lake.” 

BLUE. 

“Indigo. —  This  substance  is  a  deep  blue,  but  does 
not  possess  much  brightness;  it  is  a  pow’erful  color,  and 
may  be  used  as  a  shade  to  prussian-blue ;  for,  when  it  is 
printed  upon  that  color,  it  appears  like  a  deep  blue-black. 
It  requires  a  great  deal  of  grinding  to  make  it  a  smooth 
ink.  It  is  a  cold  but  permanent  color. 

“Prussian- Blue. —  This  is  a  deep  bright  color,  and 
makes  a  good  ink  for  large  bills  where  variety  is  wanted 
for  the  sake  of  effect,  and  also  to  form  deep  greens.  It 
requires  a  great  deal  of  grinding  to  make  a  fine  ink,  and 
an  addition  of  soap  to  the  varnish  to  make  it  w'ork  well 


PRINTING  INKS. 


211 


and  clean.  This  blue  is  far  superior  to  either  indigo  or 
antwerp-hlue ,  (being  free  from  their  greenish  tint),  in  the 
composition  of  the  various  shades  of  peach,  violet,  and 
plum  colors,  and  purple. 

Prussian- blue  being  of  a  hard  gritty  character,  is  not 
easily  dissolved  by  the  varnish ;  but ,  if  it  be  steeped  in 
urine,  until  it  ceases  to  be  acted  upon,  which  will  happen 
in  between  three  and  five  minutes’  time,  it  can  be  ground 
into  a  printing-ink  as  easily  as  chrome-yellow  or  any  other 
color  of  that  kind. 

“Light  Prussian- Blue.  —  When  this  article  can  be 
procured  of  a  good  quality,  it  forms  an  ink  of  a  bright 
blue,  and  of  a  lighter  tint  than  prussian-blue ,  as  its  name 
implies.  It  makes  a  good  ink,  as  a  variety,  in  large  bills; 
and  for  other  purposes,  where  the  color  is  suitable.  It 
may  be  distinguished  from  antwerp-blue  by  not  having  the 
green  tinge  which  always  identifies  that  color. 

“Antwerp-Blue.  —  This  is  a  bright  light  blue  color, 
with  a  slight  tinge  of  green.  It  forms  a  good  ink,  works 
clean  and  well,  and  is  easily  ground  to  a  proper  degree  of 
fineness,  and  makes  a  good  contrast  where  a  lively  appear¬ 
ance  is  required. 

“Cobalt-Blue. — -In  the  powder  this  is  a  beautiful 
and  rich  blue;  but,  when  made  into  an  ink,  it  loses  all  its 
brilliancy  under  the  platen,  and  produces  a  dull  color  that 
is  of  little  worth.” 

Ultramarine. —  Since  Mr.  Savage’s  work  was  pub¬ 
lished,  the  above-named  color  has  been  manufactured  by 
chemical  means,  and  the  price  has  become  nominal  to 
what  it  was  formerly;  consequently  it  is  now  much  used 
as  the  coloring-matter  when  a  fine  light  blue  ink  is  wanted. 
It  is  one  of  the  hardest  colors  known,  under  the  muller; 
and,  for  this  reason,  no  pains  should  be  spared  in  grinding 
it  to  an  impalpable  fineness.  It  is  a  permanent  color. 

PURPLE . 

“Purple.  —  Purple  inks  of  different'  shades  and  tints 
may  be  made  by  grinding  together  carmine,  or  lake,  (pur¬ 
ple  lake  is  the  best  for  this  purpose),  with  prussian-blue. 
Indigo  or  antwerp-blue  produces  a  far  inferior  color.” 

18 


212 


PRINTER’S  MANUAL : 


BLACK. 

“  I  n  d  i  an-I  n  k. — For  the  imitation  ot  a  drawing  in 
indian-ink  it  may  be  used,  but  for  the  greater  depths  an 
ink  can  not  be  made  with  it  of  sufficient  blackness;  for 
them  it  will  be  necessary  to  use  good  black  printing-ink. 
Upon  the  whole,  it  will  not  be  found  particularly  useful. 

“Lamp-Black.  —  For  general  purposes  good  black 
ink  is  the  best  article  to  use  when  black  is  required;  but, 
in  imitating  drawings,  the  colors  that  are  used  in  black 
ink  to  give  it  intenseness  may  iModuce  an  undesired  change 
in  those  in  the  picture  :  in  this  case  lamp-black  is  prefera¬ 
ble.  Light  shades  of  lamp-black  are  better  than  diluted 
black  printing-ink,  as  the  latter  becomes  neutral  when 
weakened  with  varnish. 

“I vorj’-Black.  —  When  an  intense  black  is  required, 
free  from  the  admixture  of  other  colors,  a  small  portion 
of  ivory-black,  prepared  according  to  the  directions  given 
in  another  ps^e,  mixed  with  the  best  lamp-black,  will  pro¬ 
duce  the  desired  efl'ect.  It  is  a  cold  color.” 

BROWN. 

“Bistre. —  This  color  forms  a  useful  brown,  in  the 
ground,  in  trunks  of  trees,  and  in  shades.  It  is  a  very 
obstinate  color  under  the  muller,  and  requires  a  great  deal 
of  grinding  to  make  a  smooth  ink.  It  is  prepared  from 
the  soot  of  chimneys  in  which  wood  has  been  burned,  and 
well  washed.  It  stands  well. 

“Baw-Umber. —  This  is  not  so  warm  a  color  as 
burnt-umber,  but  is  more  of  an  earthy  color;  and  is  useful 
in  the  foreground  of  pictures  and  as  a  shade,  and  in  many 
other  cases.  It  stands  well. 

“Burnt- Umber. —  This  is  browner  than  either  bistre 
or  raw-umber,  and  is  useful  by  itself  as  well  as  to  mix 
with  other  colors  where  a  lively  tone  is  not  required.  It 
works  well,  has  more  intensity  of  color  than  bistre,  and  is 
peiTnanent . 

“Sepia. —  This  is  a  color  that  is  much  used  in  water- 
color  drawings  in  preference  to  indian-ink;  possessing  more 
richness  and  depth  than  that  article.  This  brown  has  a 
tint  peculiarly  its  own ,  which  can  not  be  imitated  by  any 


PRINTING-INKS, 


213 


compound  color.  It  makes  a  good- working  ink,  and  may 
be  used  with  advantage  and  effect,  both  in  the  imitation 
of  drawings,  and  as  a  variety  where  black  is  not  required. 

“Prussiate  of  Copper. This  is  a  rich  brown  in 
oil-painting,  but  the  pressure  of  the  platen  destroys  all  its 
richness;  and,  as  a  printing-ink,  it  becomes  a  dull  brown. 

“Brown.  —  In  addition  to  bistre,  raw-umber,  burnt- 
umber,  and  venetian-red ,  deep  and  rich  browns  may  be 
made  of  other  colors  far  superior  to  any  of  these.  Vermilion 
and  black  printing-ink  make  a  very  good  brown,  which 
can  be  varied  to  any  tint  that  may  be  required;  lake  and 
burnt-umber  make  a  peculiarly  rich  brown;  but  the  richest 
that  I  have  ever  seen  in  a  printing-ink,  (and  I  am  not 
aware  that  any  person  but  myself  has  formed  it),  may  be 
made  of  lake,  prepared  according  to  the  recipe  given  under 
the  article  Lake,  indian-red,  a  small  proportion  of  indigo, 
it  being  a  powerful  color,  and  a  little  chromate  of  lead. 
For  finely-executed  engravings  on  wood  I  think  this  brown 
ink,  when  the  different  articles  are  well  proportioned,  pro¬ 
duces  a  superior  effect  to  the  best  black  ink,  for  richness 
and  delicacy.” 

It  will  be  seen,  by  an  examination  of  the  paragraphs 
quoted  from  Mr.  Savage,  in  this  chapter,  that  he  is  not 
in  favor  of  using  white  to  lighten  the  color,  when  it  is 
necessary  to  print  a  tint- block  or  any  work  of  that  kind. 
The  reason  he  assigns  is,  that  white-lead,  the  article  used 
generally,  would  become  darkened  by  exposure  to  the  air, 
and  spoil  the  color  of  the  tint.  But,  if  the  coloring- 
matter  be  mixed  with  varnish  until  the  required  shade  is 
attained,  there  is  a  likelihood  of  the  varnish  spreading, 
if  it  should  be  thin,  or  remaining  on  the  surface  of  the 
paper  without  drying,  and  being  liable  to  become  smutted 
by  handling,  if  too  thick.  When  it  is  required  to  make  an 
ink  of  this  kind,  it  would  be  better,  instead  of  thinning  the 
color  with  varnish,  as  he  recommends,  to  use  oxide  of  zinc, 
which,  when  pure,  is  as  permanent  as  any  color  used  in 
making  printing-inks.  This  article,  like  the  other  colors, 
is  often  adulterated,  which  can  be  easily  ascertained  if  any 
work  in  which  it  has  been  used  be  exposed  a  few  minutes 
to  a  stream  of  sulphuretted-hydrogen,  when,  should  the 
color  not  be  pure,  it  will  become  dull  and  darkened. 


214 


PRINTER’S  MANUAL  : 


CHANGEABLE  P  K  I  N  T  I N  G- 1 N  K . 

The  two  recipes  following  may  be  found  useful,  if  it 
should  he  desired,  at  any  time,  to  print  such  jobs  as 
checks  or  notes  so  that  the  inks  would  change  color  on 
the  application  of  an  acid.  The  light-colored  ink  can  be 
used  for  jjrinting  a  ground  or  tint  on  which  the  wording 
can  afterward  be  printed  with  the  changeable  black  ink  : 

BLACK. 

Make  a  strong  decoction  of  the  best  nut-galls  in  water, 
having  previously  broken  them  into  small  pieces;  when 
well  boiled  strain  the  decoction  from  the  galls,  and  mix 
with  it  about  an  equal  quantity  of  a  strong  decoction  of 
logwood,  strained  free  from  the  chips  and  other  extraneous 
matter.  Add  some  sulphate  of  iron,  which  will  precipitate 
a  black  powder  by  combining  with  the  gallig  acid;  at  the 
same  time  add  some  powdered  alum ,  which  will  precipitate 
the  purple  coloring-matter  of  the  logwood,  which  gives  rich¬ 
ness  and  intensity  of  color  to  the  black  precipitate  of  the 
galls  and  copperas;  stir  the  liquid  mixture  until  the  alum 
and  copperas  are  dissolved,  then  let  it  subside,  and  as  the 
liquor  becomes  clear  pour  it  off;  after  which  dry  the  pre¬ 
cipitate  slowly,  and  there  will  remain  an  intensely  black 
powder.  Then  take  two  parts  of  balsam  of  copaiva  and 
one  part  spirits  of  turpentine,  and  to  these  articles  add  as 
much  of  the  black  powder  as  will  make  the  mass  of  a 
proper  consistence  for  a  printing-ink ;  after  the  ingredients 
are  incorporated  grind  them  to  an  impalpable  fineness,  and 
the  ink  will  be  fit  for  use.  On  the  application  of  oxalic 
acid  to  any  lines  printed  with  this  ink  they  will  change 
color  in  the  same  time  and  manner  as  the  parts  which 
are  filled  up  with  the  ordinary  writing-ink. 

C  R I  51  S  0  N  . 

Lake  of  commerce  ground  with  varnish  5vill  make  an 
ink  5vith  which  the  tint-block  or  ground  can  be  printed. 
It  works  free  and  clean,  and  changes  color  immediately 
on  the  application  of  an  acid . 


PKINTING-INK3. 


215 


These  are  not  the  only  colors  which  can  he  used  for 
this  purpose.  A  variety  of  tints  may  he  obtained  from 
brazil-wood,  fustic,  galls,  logwood,  madder,  oak-wood,  and 
other  vegetable  substances  that  are  used  in  dyeing,  by 
means  of  different  articles  to  precipitate  and  change  the 
colors  produced  from  them. 


INDELIBLE  PRINTING-INK. 

As  it  may  occasionally  be  required  to  print  names  and 
the  like  on  linen  or  cotton,  or  any  similar  fabric,  in  such  a 
manner  that  it  would  not  become  obliterated  by  washing, 
all  that  is  necessary  to  be  done  is  to  procure  a  quantity 
of  coal-tar,  sufiScient  for  the  purpose,  and  to  thin  it  with 
naphtha,  to  the  consistence  of  ordinary  printing-ink. 


PRIMARY  COLORS  AND  COMPOUNDS. 

Although  there  are  seven  colors  usually  enumerated 
by  artists,  and  those  who  write  on  the  subject,  yet  it  has 
been  agreed  to  designate  only  three  of  these  colors  as 
primary,  namely:  red,  yellow,  and  blue;  because,  with 
the  pigments  representing  these,  the  others  can  he  formed, 
as  far  as  the  materials  will  allow.  Thus,  red  and  yellow 
mixed  make  orange ;  yellow  and  blue ,  green ;  and  red  and 
blue,  purple.  But  red,  yellow,  or  blue  can  not  be  obtained 
by  any  mixture  of  the  other  colors;  hence,  they  may  be 
considered,  in  an  artistic  sense,  as  strictly  primitive. 

To  these  three  primary  colors  may  be  added  white  and 
black:  white  as  the  representative  of  pure  light;  and  black 
as  that  of  darkness,  or  the  absence  of  light.  The  three 
primaries  may  be  regarded  as  gradual  transitions  from  one 
extreme  to  the  other,  both  in  color  and  luminosity,  thus : 
we  may  pass  from  white,  or  positive  liglit,  to  yellow,  the 
color  most  nearly  allied  to  it;  thence  to  red,  the  mean 
and  most  important  color;  then  to  blue,  the  representative 
of  coldness;  and,  finally,  to  the  neutral  black. 

With  regard  to  the  pigments  employed  in  mixing  the 
colored  printing-inks,  we  have  by  no  means  a  free  choice, 
but  are  limited  to  the  use  of  those  natural  or  artificial 


216 


PRINTER’S  MANUAL  i 


bodies,  which,  beside  being  powerful  in  their  production 
of  color,  may  be  mixed,  more  or  less,  with  each  other, 
without  being  subjected  to  much  alteration  or  decay,  and 
also  with  the  varnish,  without  mutual  chemical  action  or 
injury  to  either  the  one  or  the  other. 

The  following  diagram  is  given,  in  order  to  facilitate 
the  understanding  of  the  manner  in  which  the  secondary 
and  tertiary  colors  are  formed  out  of  the  primary  ones  : 


It  will  be  hardly  necessary  to  mention,  that  the  reason 
for  duplicating  the  yellow  and  the  red,  in  the  above  figure, 
was  to  obviate  the  formation  of  three  separate  diagrams. 


PRIMARY  COLORS. 

Eed. —  This,  the  most  powerful  and  distinct  color  of 
the  three,  excites  and  stimulates  the  e3’e,  predominating  in 
all  warm  colors.  It  occupies  a  mean  or  middle  position 
in  the  scale  of  color,  for  j-ellow  approaches  nearer  to  light, 
and  blue  to  darkness,  while  hoth  tend  to  produce  a  cool¬ 
ness  of  effect,  as  compared  \vith  red.  Green  is  the  color 
which  is  complementary  or  accidental  to  it. 

Yellow.  —  This,  in  an  artistic  view,  is  the  primary 
color  most  closely  allied  to  undecomposed  light,  by  the 
diffusing  influence  of  which  it  is  frequently  mingled  with 
all  the  other  hues.  Its  complementary  color  is  purple. 

Blue.  —  This  color  being  related  to  shade  or  darkness, 
is  consequent!}'  retiring  in  its  character,  imparting  the  same 
quality  to  all  the  hues  in  which  it  predominates.  Its 
complementary  or  accidental  color  is  orange. 


PEINTING-INKS. 


217 


SECONDARY  COLORS. 

Orange  (Yellow  and  Eed). — -Orange,  being  the 
most  luminous,  is,  on  that  account,  the  most  striking  and 
jjromineiit  of  the  secondaries.  It  is  the  connecting-link,  or 
harmonizing-color,  between  yellow  and  red,  and  it  is  the 
complementary  color  of  blue.  A  small  quantity  of  black 
mixed  with  orange  makes  a  good  brown  ink. 

Green  (Yellow  and  Blue). —  Green  is  generally 
considered  as  the  mean  between  the  other  two  secondary 
-  colors,  taking  an  intermediate  position  between  light  and 
shade.  Its  complementary  color  is  red.  Chrome-yellow 
mixed  with  indigo  makes  a  beautiful  deep  green ;  with 
Prussian- blue ,  a  brighter,  but  less  intense  color;  and,  with 
antwerp-blue ,  a  brilliant  green :  all  of  them  working  well . 

Purple  (Red  and  Blue). —  Purple  is  the  coolest 
and  darkest  of  the  secondary  colors.  It  possesses,  in  a 
high  degree,  the  modest  retiring  qualities  of  the  primary 
blue,  with  which  it  is  most  dosely  connected;  and,  as 
the  eye  delights  to  dwell  on  those  colors  which  least 
fatigue#it,  perhaps  purple  may  rank  next  to  green  in  the 
pleasure  it  alfords.  Yellow  is  its  complementary  color. 
Purple  printing-inks  of  any  hue  may  be  made  by  mixing 
carmine  and  the  various  blues  in  different  proportions. 

TERTIARY  COLORS. 

Citrine  (Orange  and  Green).  —  A  mixture  of  the 
two  secondary  colors,  orange  and  green,  is  called  citrine, 
or  citron,  from  its  likeness  to  the  color  of  that  fruit.  It 
is  a  dark ,  subdued ,  yellowish  green .  It  is  more  nearly 
allied  to  yellow  than  to  blue  or  red,  being  composed  of 
yellow  and  red,  and  yellow  and  blue  (see  diagram).  This 
color  is  pleasant  and  cheerful,  and,  on  account  of  the 
predominance  of  yellow  in  its  composition ,  approximates 
nearer  to  light  than  the  other  two  tertiary  colors. 

Russet  (Orange  and  Purple).  —  The  next  tertiary 
color  is  russet,  in  which  red  predominates.  It  will  be  seen, 
by  reference  to  the  diagram,  to  be  a  mixture  of  red  and 
yellow,  with  red  and  blue.  As  red  occurs  twice  in  its 
composition ,  russet  inclines  more  to  that  color  than  to 
either  of  the  other  primaries. 


218 


PRINTEE’S  MANUAL  . 


Olive  (Purple  and  Green). —  Olive,  formed  from 
purple  and  green,  is  the  last  of  the  tertiary  colors,  and  is 
more  nearly  connected  with  blue  than  the  two  former;  it 
therefore  makes  the  nearest  approach  to  shade  and  dark¬ 
ness,  and  is  the  most  retiring  of  all  the  colors. 


The  term :  complementary  color,  in  the  foregoing  pages, 
has  reference  to  the  one  which,  when  printed  in  juxta- 
j)Osition  with  another,  forms  the  best  contrast  with  it;  for 
instance,  if  one  of  the  colors  be  pure,  its  accidental  or 
complementary  color  will  be  a  combination  of  the  two  other 
primary  colors,  in  projMDrtions  varying  according  to  the  hue 
of  the  former,  as  may  be  seeu  by  the  following  list  : 


Orange-yellow 

Orange 

Yellow 

Indigo 

Blue 

Green 

Purple 

Red 

Violet 


complementary  to  Indigo. 

“  Blue. 


Purple . 

Orange-yellow. 
Orange . 

Red. 

Yellow. 

Green . 

Greenish-yellow, 


PRECAUTION. 

When  printing  a  form  in  more  than  two  colors,  with, 
points,  two  pair  should  bo  used,  so  that  when  working 
one  color  fresh  point-holes  would  be  made  to  carry  the 
next.  If  the  pressman  should  use  the  same  point-holes 
for  the  third  color  with  which  he  has  registered  the  first 
and  second,  he  will  find  that  they  have  become  too  large, 
the  consequence  of  which  will  be  that  the  lines  will  not 
fall  in  their  proper  places. 

A  roller  which  lias  been  used  for  a  dark  color  should 
never  be  employed  in  printing  delicate  colors ;  because ,  no 
matter  how  well  the  surface  may  be  washed,  there  will 
be  some  of  the  ink  left  in  the  pores  of  the  roller,  which 
gradually  oozing  out,  will  become  mixed  with  the  other 
and  darken  it  so  that  it  will  not  appear  like  the  color 
which  was  originally  intended  to  be  printed. 


DKY  COLORS. 


This  division  will  contain  directions  for  printing  jobs  in : 
Metal-leaf,  Bronzes,  Smalts,  Flock,  and  Dry  colors;  and, 
the  manner  of  executing  such  kinds  of  work  as  Hat-tips 
by  the  hot  method.  Chromotype-printing,  and  other  matter 
which  may  be  thought  interesting  and  useful  to  the  trade. 


METAL-LEAF  AND  BRONZES. 

When  either  of  the  above  articles  is  to  be  used  in 
printing  a  job,  the  form  must  be  made  ready  on  the  press 
in  the  usual  manner,  and,  an  impression  pulled  with  size, 
instead  of  printing-ink. 

If  leaf  should  be  used,  it  must  be  laid  on  by  means 
of  a  piece  of  cat-skin  or  some  other  substance  which  will 
exert  a  slightly  attractive  intluence  over  it,  while  being 
transfen'ed  from  the  place  where  the  leaves  are  cut  to 
its  proi>er  place  on  the  sized  impression.  After  the  leaf 
has  been  laid  in  its  proper  jilace,  it  should  be  beat  gently 
Avith  a  cotton  pounce  covered  with  velvet,  so  as  to  make 
the  leaf  and  the  size  come  in  perfect  contact.  The  job 
should  be  allowed  to  remain  from  thirty-six  to  forty-eight 
hours,  so  that  the  size  will  have  become  thoroughly  dried 
before  the  superfluous  gold  is  brushed  off. 

The  method  of  proceeding  with  the  form  is  the  same 
for  bronzes  as  for  leaf.  In  jnitting  bronzes  on  a  job  printed 
with  size,  if  the  lettering  be  large,  the  most  expeditious 
method  of  applying  them  would  be  to  use  a  hat-brush; 
but,  if  the  job  be  small  it  Avill  be  better  to  use  a  piece  of 
cotton-batting,  which  can  be  rolled  up  to  the  desired  shape. 
Bronzes,  like  leaf,  should  be  allowed  to  remain  until  the 
size  become  set  before  cleaning  the  job.  This  operation  is 
best  done  by  rubbing  the  surface  gently  with  clean  raw 
cotton  until  all  the  loose  bronze  is  wiped  off. 

19 


220 


PRINTEK’S  MANUAL  : 


SMALTS  AND  DKY  COLONS. 

The  directions  given  for  the  putting  on  of  bronzes  will 
hold  good  with  regard  to  these  colors;  the  onl)"  difl'erence 
being,  that  smalts  are  more  liable  than  the  bronzes  to  get 
rubbed  off;  because,  their  particles  are  larger,  and,  on  this 
account,  project  farther  above  the  surface  of  the  paper. 
Lor  this  reason,  the  sizing  by  which  the}’  are  held  on  the 
pajier  or  card  must  be  far  more  tenacious  than  that  used 
ill  the  printing  of  leaf  or  bronzes. 

The  size  should  be  made  according  to  the  directions 
given,  at  page  183,  for  making  printing-ink  varnish,  the 
only  difference  being  that  the  linseed-oil  should  be  burned 
until  it  would  be  so  glutinous  as  to  draw  out  into  strings 
two-and-one-half  or  three  inches  in  length.  As  it  would 
be  impossible  to  use  the  size  in  this  state,  because  it  could 
not  be  distributed  on  the  surface  of  tlie  roller,  some  other 
substance  should  be  mixed  with  it,  at  the  time  of  using, 
which  would  thin  it  to  the  proper  consistence,  and,  at  the 
same  time,  evaporate  quickly  without  having  a  detrimental 
effect  on  the  quality  of  the  size.  It  will  be  found  that 
either  spirits  of  turpentine  or  cojial  varnish  is  the  best 
article  to  use  for  this  purpose. 

As  some  of  the  smalts  are  transparent,  the  size  made 
according  to  the  above  directions  can  be  seen  through  them, 
on  account  of  the  oil  having  become  darkened  in  appear¬ 
ance  by  the  action  of  the  fire.  For  this  reason,  the  burned 
oil  must  be  clarified  before  the  rosin  is  dissolved  in  it,  by 
I)roceeding  according  to  the  following  method  : 

To  the  required  quantity  of  oil  add  one-twentieth  of 
its  weight  of  caustic  potash  or  soda,  or  one-tweltth  of  its 
weight  of  the  carbonate  or  chloride  of  either  of  these 
articles,  dissolved  in  a  quantity  of  boiling  water  equal  in 
bulk  to  the  oil  to  be  bleached,"  and  stir  the  mixture  until 
it  is  perfectly  uniform.  Then  take  chloride  of  lime  ot 
commerce  equal  to  one-fourth  of  the  weight  of  the  oil, 
and ,  having  dissolved  it  in  cold  water  in  the  proportion  of 
one  pound  of  chloride  of  lime  to  six  gallons  of  water, 
draw  off’  the  clear  solution  from  the  residuum,  and  allow 
this  cold  liquid  to  drop  quite  slowly  into  the  mixture  of 
oil  and  alkali  while  it  is  still  sufiicieutly  warm  to  be  in  a 


DRY  COLORS. 


221 


liquid  state,  at  tlie  same  time  carefully  stirring  the  whole 
mass.  When  this  is  done,  the  hleaching-action  immediately 
commences,  and  proceeds  gradually  during  the  addition  of 
the  cold  solution  of  the  chloride  of  lime,  and  for  some 
time  afterward,  until  the  color  is  sufficiently  discharged. 
Put  it  into  an  iron  boiler  lined  with  lead,  and  boil  it 
in  dilute  sulphuric  acid,  in  the  proportion  of  twenty  parts 
water  to  one  jDart  sulphuric  acid  of  120°  strength,  until  it 
is  free  from  the  lime  or  alkaline  substance  that  may  have 
combined  with  it  during  the  bleaching- process ,  and  floats 
quite  clear  upon  the  top  of  the  acid  liquor,  after  which 
draw  it  off  into  clear  water,  to  free  it  from  any  adhering 
acid  or  other  impurities,  and  it  is  then  ready  for  use. 

The  article  denominated  flock,  is  made  from  the  cuttings 
of  woollen  goods,  and  is  of  various  colors.  The  size,  by 
which  it  is  held  on  the  card,  should  be  somewhat  stronger 
than  that  used  in  the  printing  of  smalts;  and,  as  the 
particles  of  which  flock  is  composed  are  somewhat  larger, 
the  method  of  applying  it  to  the  surface  will  be  different. 
This  is  done  by  spreading  the  material  on  a  flat  surface 
and  pressing  the  printed  job  upon  it,  face  downward,  when 
it  will  be  found  that  a  sufficient  quantity  of  the  flock  has 
been  transferred  from  the  loose  layer  to  all  parts  of  the 
card  which  have  received  the  size. 

When  flock  and  bronze  are  to  be  worked  on-  the  same 
card,  the  bronze  must  be  printed  and  allowed  to  become 
thoroughly  set  before  the  flock  is  used;  because,  if  the 
process  be  reversed,  the  bronze  will  be  retained,  more  or 
less,  between  the  particles  of  the  flock. 

Beside  the  articles  before-mentioned,  there  are  many 
other  coloring-materials  which  can  be  used  in  the  dry  state : 
ultramarine,  cobalt-blue,  paris-green,  and,  in  fact,  any  color 
which  can  be  brought  in  contact  with  the  glazed .  surface 
of  a  card  without  soiling  it,  may  be  employed. 

It  will  be  obvious  that  the  roller  employed  for  printing 
jobs  with  size,  must  have  a  harder  surface  than  if  used 
for  the  printing-ink  of  ordinary  tenacity;  because,  a  soft 
roller  will  stick  too  much,  and  probably  become  torn  when 
being  distributed  on  the  stone  or  cylinder. 

The  form  must  be  cleaned  with  spirits  of  turpentine 
and  a  soft  brush,  the  turpentine  being  afterward  removed 
by  using  alcohol. 


222 


PRINTER’S  MANUAL  : 


FEINTING  BY  THE  HOT  METHOD. 

The  form  must  ho  harder  tlian  type-metal,  on  account 
of  the  heat  and  extra  amount  of  pressure  which  it  will 
have  to  undergo .  F or  this  reason ,  work  such  as  hat-tips , 
must  he  set  uji  with  brass  types,  or  the  lettering  must  be 
engraved,  or,  which  is  far  cheaper,  set  up  with  ordinary' 
types  and  electrotyped . 

When  a  large  amount  of  work  of  this  kind  is  done, 
in  an  office,  presses  are  built  for  the  purpose,  which  are 
heated  by  steam ,  gas ,  or  by  the  insertion  of  hot  iron  bars 
into  cavities  made  for  the  purpose  in  the  plate  to  which 
the  form  is  attached;  but,  if  there  be  not  work  enough 
of  this  kind  to  justify  the  printer  in  the  purchase  of  such 
a  press,  the  job  ma}’  be  done  at  the  ordinary’  hand-press, 
by  making  the  plate,  on  which  the  lettering  is,  about  the 
thickness  of  a  stereotype-plate,  which  must  be  raised  to 
the  bight  of  tyj^e  b\’  an  iron  plate  instead  of  a  u'ooden 
block.  The  iron  plate  can  be  heated,  to  the  required 
degree,  by  placing  it  on  the  top  of  a  hot  stove  or  over 
a  charcoal-fire,  after  which  it  must  be  transferred  to  the 
bed  of  the  press,  when  the  other  plate  must  be  laid  ujion 
it,  and  it  will  be  ready  for  use. 

There  can  be  no  directions  given  in  reference  to  the 
amount  of  heat  which  the  form  should  receive,  in  order 
to  melt  the  article  used  to  hold  the  gold  on  the  surface 
of  the  material  which  is  to  be  printed  upon.  This  can 
only  be  ascertained  by  experience.  A  deviation  from  the 
correct  amount  of  heat  may  be  known  by  the  gold  looking 
dead  and  ragged,  if  the  form  be  too  hot;  or  bright,  but 
imperfect,  if  too  cold. 

The  article  by  which  the  gold-leaf  is  made  to  adhere 
will  vaiu'  according  to  the  material  which  is  to  be  printed. 
When  it  is  required  to  prepare  hat-tips  for  the  reception 
of  the  leaf,  transparent  shellac  must  be  dissolved  in  spirits 
of  wine ;  then  saturate  a  sponge  with  the  solution ,  and 
dampen  the  part  of  each  of  them  which  is  to  receive  the 
impression.  The  spirits  of  wine  will  evaporate  in  a  short 
time,  and  leave  sufficient  of  the  shellac  on  the  tip  to  hold 
the  gold,  without  altering  the  appearance  of  the  material. 
When  jobs  arc  to  be  done  on  satin  or  velvet,  the  jiart  of 


DRY  COLORS. 


223 


the  surface  to  be  printed  must  be  powdered  with  the  white 
of  egg,  which  has  been  dried  in  the  sun  and  ground  on 
the  stone  with  the  muller,  until  it  is  reduced  as  fine  as 
it  is  possible  to  make  it.  If  leather  is  to  be  printed  upon, 
the  part  of  the  surface  which  is  to  receive  the  impression 
must  be  rubbed  over  with  the  white  of  egg  which  has 
been  mixed  with  a  small  quantity  of  sugar. 

It  will  be  found  convenient,  as  a  general  thing,  to  lay 
the  leaf  on  the  face  of  the  form,  instead  of  on  the  surface 
of  the  material. 

The  tympan  should  be  quite  hard,  so  that  the  face  of 
the  form  only  could  come  in  contact  with  it. 


CHROMOTYPE-PRINTING. 

This  kind  of  work,  although  generally  called  by  the 
above  name,  is  not  printing,  in  the  strict  sense  of  the 
word;  because,  part  of  it  only  is  done  at  the  printing-press, 
the  remainder  being  finished  by  the  use  of  stencils  and 
water-colors.  Chromotype-printing  is  employed  to  put  in 
the  colors  of  the  maps  in  such  jobs  as  the  large  cards 
printed  for  railroad-companies,  and  for  coloring  parts  of  the 
borders  of  large  cards.  The  latter  kind  of  work  is  called 
illuminated-printing . 

The  stencil  is  formed  by  pulling  an  impression  of  the 
job  on  a  card,  and  cutting  out  the  parts  intended  for  one 
of  the  colors ;  a  new  stencil  being  cut  for  each  of  them . 
The  colors  must  be  laid  on  with  a  fine-grained  sponge  or 
soft  camel-hair  brush . 

Any  color  which  can  be  used  for  maps  may  be  applied 
to  this  purpose.  The  following  will  answer  very  well  : 

Red. —  Steep  ground  brazil-wood  in  vinegar,  and  add 
a  small  quantity  of  alum. 

Steep  cochineal  in  water,  strain  it,  and  add  a  sufficient 
amount  of  gum-arabie  to  keep  it  from  depositing. 

Dissolve  litmus  in  water  and  add  spirits  of  wine. 

Ye  1 1  o  w.~  Dissolve  gamboge  in  water;  or,  steep  french- 
berries  in  water,  strain  the  liquor  and  add  gum-arabic. 

Blue.  —  Dissolve  prussian-blue  in  water  and  add  some 
gum-arabic . 

To  a  solution  of  litmus  add  distilled  vinegar. 


224 


PRINTER’S  MANUAL  . 


Green. —  Dissolve  verdigris  or  sap-green  in  water  and 
add  gum-arabic. 

A  solution  of  litmus  may  be  rendered  green  by  adding 
a  small  quantity  of  any  of  the  alkalies  to  it. 

Ox-gall  can  be  added,  to  brighten  any  of  these  colors. 


EMBOSSED  PRINTING. 

This  descrijition  of  printing  is  done  bj’  using  metalic 
dies,  into  the  surface  of  which  the  lettering  has  been  cut 
or  punched. 

The  counter-die  is  made,  by  cutting  a  piece  of  thick 
smooth  leather  to  the  size  of  the  die;  the  side  which  is  to 
receive  the  impression  must  now  be  moistened,  and  being 
laid  upon  the  surface  of  the  die,  a  suiRcient  pressure  must 
be  given  to  it  to  make  the  leather  go  into  all  the  cavities 
in  the  plate.  The  counter  is  then  to  be  removed  from 
the  die  and  its  edges  trimmed  so  that  both  will  be  of  the 
same  size,  after  wliich  the  leather  must  be  adjusted  to  its 
l)lace  on  the  face  of  the  die,  and  its  back  covered  ivith  a 
thick  mucilage,  another  impression  must  be  made,  so  as 
to  transfer  the  counter  to  the  tympan.  A  thin  sheet  of 
gutta-percha  should  now  be  warmed  on  one  side,  and  laid 
upon  the  face  of  the  plate,  with  the  side  which  has  been 
heated  uppermost.  An  impression  must  again  be  made, 
by  which  the  leather  and  the  gutta-percha  will  become 
.attached,  the  result  being  an  elastic  counter,  which  will 
retain  sufficient  firmness  to  throw  up  any  part  of  the  under 
surface  of  the  Ciird  without  breaking  the  parts  <at  the  edges 
of  the  letters. 

When  the  job  is  of  large  size,  such  as  a  show-card, 
the  counter-die  may  be  made  by  p.asting  ten  or  twelve 
sheets  of  smooth  paper  together  with  mucilage,  and  while 
they  are  in  a  damp  state ,  to  press  the  die  into  the  pulpy 
mass,  and  leave  it  dry  before  they  are  separated. 

The  printer  must  be  careful  with  reference  to  the  ink. 
Whatever  color  is  used  should  be  strong  in  body,  and  the 
roller  must  be  passed  over  the  form,  in  all  directions,  so 
as  to  secure  a  perfectly  nnifonn  coating  of  ink. 

The  form  must  be  cle.aned,  as  occasion  may  require, 
by  the  application  of  spirits  of  turpentine  with  a  brush. 


INDEX 


A 

Abbreviations . 

- ,  Commercial  •• 

Accents ,  etc. . 

Angles  for  Mitering  Rules  •• 

B 

Bearers . 88,  172, 

Book-Leads . 

Brass  Buie  for  Job-Work- •• 
Bronzes ,  Metal  Leaf  and  •  ■  •  • 

C 

Cases . . . 59, 

Casing  the  Letter . 

Chases . 

Colored  Printing-Inks . 

Colors,  Complementary . 

• — Diagram  of . 

- Dry . 

Composing . 

Composing-Rule . 

- Stick . 

Composition . 59  — 

- of  Algebra  •  ■  •  • 

-  Book-Work  • 

- Column  and 

Table  Work 

■ — - Greek . 

- Hebrew . 

- Interlinear 

Work . 

- ^ - - - —  Music . 

■ - - - Newspapers 

- Title-Pages- 


Compound  Colors .  21B 

- Words .  21 

Correcting .  160 

Correction-Page .  162 

Copy .  62 

-  Casting  off .  62 

D 

Distributing .  61 

Division  of  Words .  18 

Dry  Colors . 219  —  224 

E 

Electrotyping .  88 

Elisions .  44 

Exclamation .  13 

F 

Folios .  68 

Forms ,  Locking  up .  156 

-  Making  Ready- -170,  180 

- Washing-- -179,  181,  221 

Fount .  48 

Friskot .  171 

Furniture,  Beveled .  57 

- Cutting .  163 

- Metal .  56 

- Wooden .  57- 

G 

Galleys .  67 

Guide,  The .  65 

H 

Head-  and  Foot-lines .  68 


34 

42 

43 

53 

173 

55 

50 

219 

66 

60 

58 

203 

218 

216 

220 

64 

65 

64 

84 

71 

64 

86 

74 

79 

84 

73 

89 

85 


226 


INDEX. 


I 

iMPOfllNG . 93  — 

Inks,  lilack--ir,7  ,  199,  201  , 

202,  212,  2U, 

-  Colored . 

- - Blue . 210, 

- - Brown  ••••  212 , 

- - Citrine . 

- - Crimson . 

- - Green  ••••  210  , 

- - Olive . 

- - Orange  •  •  ■  208 , 

- - I’urple  •••  211, 

- *  - - Bed .  205  , 

- - Kusset . 

- - Yellow  •••  209, 

-  Ckiiiifreable . 

-  Indelible . 

Intenogatiun . 


J 

/OB-WOKK . 85  — 

L 

f.  atin  and  French  Pbrascs-  •  • 

Be  Ads, . 

- Lengths  for  Books  •  •  • 

- Jobs . 

Length  of  Pages . 


.M 

M. iking  JIargin . 

IJatebial . 45  — 

N 

Newspapers . 89  — 


Length  and  Breadth  of  1000 
m  in  any  Measure . 

P 

Paper  for  Blanket--171  ,  178, 
Phrases  and  Signs- •  -23  — 

I’ress ,  The . 

Press-M'ork . 165  — 

I’rinting  Book-Forms . 

■ - Bronzes . 

-  Cards . 

- -  Chromotype . 

-  Dry  rs . 

- Embossed . 


\ 


Printing  Engravings .  176 

- Flock .  221 

- Hat-Tips .  222 

- Job-Work .  180 

-  Leaf  and  Bronzes  ••  219 

-  Leather .  223 

- Parchment .  169 

-  Satin  or  Velvet . 222 

Printing  Inks . 191  —  218 

Proportion  of  Sorts  in  Fount-  48 

Proportions  of  Types . 63,  71 

Punctuation  . 5  —  22 

R 

Rollers  ,  Casting .  187 

- Composition  for .  185 

- Making .  184 

- Preserving .  189 

- Recasting .  188 

Roman  Numerals .  40 

S 

Signatures ,  Table  of .  69 

Signs  ,  Algebraical .  39 

- Astronomical .  38 

- Geometrical .  41) 

- .Medical .  40 

Schedule .  104 

Space  Rules .  53 

Stands .  58 

Stereotyping .  88 

Stone .  58 

T 

Two-Line  Letters .  47 

Tympan . 166  ,  178 

Types,  Faces  of .  49 

-  llight-to-Paper  of- -  -  -  49 

-  Nicks  of .  49 

-  Lining  of . 50 

-  Proportions  of,  in  a 

Fount .  48 

-  Relative  Proportions 

of,  in  a  given  Space  71 

-  Sizes  of .  45 

-  Weight  of .  50 

W 

Washing  Forms-- -179,  181,  221 

Wetting  Paper .  169 


164 

215 

203 

216 

217 

21-7 

214 

217 

218 

217 

217 

216 

217 

216 

214 

215 

13 

88 

23 

54 

54 

55 

67 

144 

58 

92 

70 

180 

44 

165 

190 

170 

219 

181 

223 

219 

224 


■^-1* 


ON  THE  TREATMENT  OF  CUSTOMERS.'-" 


Treat  all  customers  alike,  as  near  as  possible;  nothing  valuable  is 
lost  by  civility.  If  preference  has  to  be  given,  favor  the  cash  cus¬ 
tomer,  and  those  who  pay  their  bills  promptly.  In  all  cases  ask 
strangers  for  a  deposit,  after  first  giving  them  an  opportunity  to 
offer  it.  Beware  of  new  customers  who  give  orders  without  inquir¬ 
ing  the  price ;  for  too  often  those  who  are  quick  to  buy  are  slow 
to  pay. 

Endeavor  to  get  all  the  time  you  can  for  the  delivery  of  goods, 
and  have  them  delivered  on  time,  or  send  to  the  customer  the  rea¬ 
son  you  disappoint  him.  ■* 

Do  all  work  according  to  agreement — excel  it  if  possible,  but 
never  give  inferior  stock. 

If  you  commit  a  blunder,  either  make  a  proper  deduction,  or  do 
the  work  over  without  murmuring. 

If  you  expect  cash  on  delivery,  so  inform  your  customer ;  if  time 
is  allowed,  agree  upon  the  length  of  time,  and  present  the  bill 
promptly  when  it  becomes  due. 

If  the  customer  disappoints  you  in  the  payment  of  a  bill  three 
times,  put  it  into  the  hands  of  an  efficient  collector,  or  donate  the 
bill  and  close  the  account. 

Never  change  your  manner  towards  a  person  who  ceases  to  trade 
with  you ;  for  he  may  be  aiding  a  more  needy  person  than  yourself, 
or  he  may  imagine  that  he  will  be  suited  better  elsewhere,  and  after 
discovering  his  error  your  changed  conduct  may  prevent  his  return 
to  you. 

If  a  customer  gets  angry  when  you  present  him  a  just  bill  at  the 
proper  time,  sue  him  for  the  amount  as  quickly  as  the  law  will  let 
you ;  for  he  is  a  rogue  and  should  be  treated  as  such. 

Trust  with  the  greatest  caution.  Collect  closely. 

Keep  cool  at  all  times,  but  especially  when  making  contracts, 
settling  disputes,  or  collecting  bills. 


WM.  M.  CUBERY. 


I 


GETTY  RESEARCH  INSTITUTE 


3  3125  01018  8551 


